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( FADE IN ON A RINGINGTELEPHONE. A hand reaches for it, bringing the receiver up to the face of CASEY BECKER, a young girl, no more than sixteen. A friendly face with innocent eyes. CASEY Hello. MAN'S VOICE (from phone) Bello. Silence. CASEY Yes?

MAN Who is this? CASEY Who are you trying to reach?

MAN What number is this? CASEY What number are you trying to reach?

MAN I don't know.

CASEY I think you have the wrong number.

MAN Do I? CASEY It happens. Take it easy. CLICK 1 She bangs up the phone. The CAMERA PULLS BACK to reveal Casey in a living room, alone. She moves from the living room to the kitchen. It's a nice house. Affluent. The phone RINGS again.

~ -::::. l. =···-: 2.

INT. KITCHEN /, ,•,. . ,. Casey grabs the portable • CASEY Hello.

MAN I'm sorry. I guess I dialed the wrong number. CASEY So why did you dial it again?

MAN To apologize. CASEY You' re forgiven. Bye now.

MAN Wait, wait, don't bang up. Casey stands in front of a sliding glass door. It's pitch black outside. CASEY What?

MAN I want to talk to you for a second. CASEY They've got 900 numbers for that. Seeya.

CLICKl Casey hangs up. A grin on ber face. EXT. CASEY'S HOUSE- NIGB'l' - ESTABLISHING A big, country home with a huge sprawling lawn full of big oak trees. It sits alone with no neighbors in sight. The phone RINGS again. INT. KITCHEN Popcorn SIZZLES in a pot on the stove. Casey covers it with a lid, reaching for the portable phone. CASEY Bello.

~ --

(CONTINUED) CONTINUED:

MAN Why don't you want to talk to me? CASEY Who is this?

MAN You tell me your name, I'll tell you mine. CASEY (shaking the popcom) I don't think so.

MAN What's that noise? Casey smiles, playing along, innocently.

Popcorn.

MAN You're making popcorn?

CASEY

I Uh-huh. r MAN I only eat popcorn at the movies.

CASEY I'm getting ready to watch a video.

MAN Really? What? CASEY Just some scary movie.

MAN Do you like scary movies? CASEY Uh-huh.

MAN What's your favorite scary movie?

Be's flirting vi th her. Casey moves away from the stove and takes a seat at the kitchen counter, directly in front of the glaaa door. r .· ~·

(CONTINUED) 4. CONTINUED z ( 2 )

CASEY I don't know.

MAN You have to have a favorite. Casey thinks for a second. CASEY Uh •• HALLOWEEN.You know, the one with the guy with the white mask who just sorta walks around and stalks the baby­ sitters. What's yours?

MAN Guess.

CASEY Uh ••• NIGHTMARE ON ELM STREET.

MAN Is that the one where the guy had knives for fingers? CASEY Yeah •• Freddy Krueger.

MAN Freddy--that' s right. I liked that movie. It was scary.

CASEY The first one was, but the rest sucked.

MAN so, you gotta a boyfriend? CASEY (giggling) Why? You wanna ask me out?

MAN Maybe. Do you have a boyfriend? GIRL No.

MAN You never told me your name. Casey BDLiles, twirling her hair.

(CONTINUED) CONTINUED:(3)

CASEY Why do you want to know my name?

MAN Because I want to know who I 'm looking at. Casey spins around like lightning facing the glass door.

CASEY What did you say?

MAN I want to know who I 'm talking to. CASEY That•s not what you said.

MAN What do you think I said?

Casey CLICKS on the outside light. A flood light illuminates the backyard. Her eyes survey the grounds. But it's empty. No one's there. She turns the light out. on the stove, the popcorn POPS.

CASEY I have to go now.

MAN Wait •• I thought we were gonna go out. CASEY Nah, I don't think so •.•

MAN Don't hang up on me.

CASEY Gotta go.

MAN

CLICKI Casey hangs up. She checks the glass door making sure it• s locked and then moves to the stove as •••

THE PHONE RINGS. She slides the popcorn from the stove, reaching for the phone.

(CONTINUED) 6. CONTINUED:( 4 )

CASEY Yes?

MAN I told you not to hang up on me. CASEY What do you want?

To talk. CASEY Dial someone else, okay?

MAN You getting scared? CASEY No--bored. CLICK. She hangs up. The phone RINGS again. She grabs it. CASEY Listen, asshole •••

MAN (deadly serious) NO, YOULISTEN, YOULITTLE BITCH. IF YOU BANGUP ON ME AGAIN I'LL GUT YOULID A FISH. UNDERSTAND? Total silence. Be has gotten her full attention. CASEY Ia this some kind of a joke?

MAN More of a game, really. Casey eyes the glass doors, then looks up the hallway to the front door ••• moving to it. It's unlocked. She bolts it. CASEY I •m two seconds from calling the police.

MAN They'd never make it in time. Casey moves her face flush against the door, her eye looking through the peephole.

(CONTINUED) 7.

CONTINUED 1 ( 5 )

ANGLETHROUGH PEEPHOLE. A distorted view of the front porch. It is empty. She relaxes a bit, relieved. CASEY What do you want?

MAN (pure evil) TO SEE WHAT YOUR INSIDES LOOK LIKE. Casey• s jaw drops as total fear storms her face. She hangs up the phone, throwing it down on a Bide table when ••• THE DOORBELLCHIMES. Casey leaps out of her skin. She turns to the door as it CHIMESagain. CASEY , (calling out) Who's there? Another CHIME. She moves to it. CASEY (louder) ~ ••-· Who's there? No answer. Fuck this. It's time for the police. She goes for the portable phone. Just as she picks it up •••

IT RINGS. · Casey almost drops it, losing her breath ••• She brings it to her ear with trembling hands, saying nothing ••• listening, waiting • •.

A long silence. And then.

MAN You should never say •Who's there?• • Don't you watch scary movies? It's a death wish. Casey clutches the wall, nearly collapsing. She tries her damndest to hang tough.

~--·

(CONTINUED) e. CONTINUEDz ( 6 )

CASEY Look, enough is enough. You had your fun now you better leave me alone or else.

MAN or else what? CLOSEON her face, her mind thinking, calculating ••• CASEY My boyfriend will_ be here any second and he'll be pissed when I tell him •••

MAN I thought you didn't have a boyfriend. Busted. She holds steady. CASEY I lied. I do have a boyfriend and he'll be here any second and your ass better be gone.

MAN Sure ••• -

MAN I'm getting scared.

CASEY I'm telling the truth. I lied before •••

MAN I believe you ••• CASEY So you better leave.

MAN Bis name wouldn't be Steve, would it? Silence. Casey buckles at the knees, losing it.

CASEY Bow do you know his name?

(CONTINUED) 9. CONTINUED: ( 7 )

~-­ MAN \ ' Go to the back door and turn on the porch light-again • .Casey, terrified, forces herself to move ••• staggering to the kitchen ••• to the glass doors. Ber shaky hand finds the light switch ••• she hits it. The back yard is lit. Sitting in a lawn chair in the middle of the backyard is a big, line backer of a guy, her boyfriend •••

STEVE

tied and gagged. Be"s been roughed up, but he 1 s alive. CLOSEON his eyes •• wide in fear •• staring at his girlfriend, pleading with her. CASEY Oh Goddddd ••• Casey SCREAMS. Ber hand moves to the lock on the door.

MAN I wouldn't do that if I were you. Terror rides Casey• s face. She's petrified. CASEY Where are you?

MAN Guess. Ber eyes search the yard, combing bushes, trees. Be could be anywhere--anywhere.

CASEY (begging) Please don't hurt him.

MAN That all depends on you. CASEY Why are you doing this? Tears find their way, streaming down Casey's face.

MAN I wanna play a game.

~ :-:

\ ''

(CONTINUED) 10. CONTINUED:(8)

CASEY No •••

MAN Then he dies. Right now.

CASEY NOOOl

MAN Which is it? A long silence. Casey touches the glass ••• ataring at Steve ••• this big jock of a guy is crying too. CASEY What kind of game?

MAN Turn off the light. Her hand goes to the switch ••• Steve tugs and pulls at his straps ••• as if begging her ••• his face sweat and tears ••• CLICK He disappears in the darkness. Casey moves away from the glass, back towards the living room, unbelieving,,horrified.

MAN Here"s how we play. I ask a question. If you get it right--Steve lives. Three curtainless windows line one wall. Casey crouches down behind the couch, ripping a lamp cord from it's socket, darkening the room. Her body quivers. CASEY Please don't do this •••

MAN Come on. It'll be fun. CASEY No ••• please.

MAN It's an easy category. Movie trivia.

CASEY (begging) •• please •••

.-- .•,· ~ :

(CONTINUED) 11. CONTINUED: ( 9 )

HAN I'll even give you a warm up question. CASEY Don't do this. I can't ••

MAN Name the killer in HALLOWEEN. CASEY No •••

MAN Come on. It's your favorite scary movie, remember? Be had a white mask, he stalked the baby-sitters. Casey goes silent ••• a nervous wreck ••• she can barely speak much less think. CASEY I don't know •••

MAN Come on, yes you do. CASEY Please •• stop ••• Casey is SOBBING.

MAN What's his name? CASEY I can't think. Casey has officially reached hysteria, petrified beyond a11 · reality.

MAN Steve• s counting on you. Suddenly ••• through tears . .. Godsent ••• CASEY (a whisper) Michael ••• Michael Myers.

MAN YESt

(CONTINUED) 12. CONTINUED:(10)

Casey SIGHS••• relieved.

MAN Now for the real question. CASEY NOOOO••••

MAN But you•re doing so well.

CASEY Please go awayl Leave us alone!

MAN Then answer the question. Same category. Casey is a blubbering, wet mess on the floor.

CASEY •• please •• no •••

MAN Name the killer in FRIDAY THE 13TH.

A mad smile purses Casey• s lips. She knows this. She leaps ..-· .. 1 · ' , .- up, through tears, screaming ••• ("" CASEY JASON l JASON t ••• JASON 1 A slight PAUSE.

MAN I 'm sorry. That' s the wrong answer. CASEY No it's not. It was Jason.

MAN Afraid not.

CASEY It was Jason. I saw that goddamned movie twenty ti.mes. It was Jason.

MAN Tben you should know Jason• a MO'l'HER--Mrs. Vorhees was the original killer. Jason didn't show up until the sequel.

,. Casey is stupefied. I ·:•:•:• • ~--

(CONTINUED) 13. CONTINUED:(11)

CASEY You tricked me•••

MAN Lucky, for you there's a bonus round. But poor Steve •• ~•m afraid •• he's out. This implication sends Casey running to the kitchen ••• to the glass doors. She flips on the porch light to see •••

STEVE eyes wide, sitting in the lawn chair ••• his belly gaping open ••• a mass of blood and ripped flesh ••• his insides lay on the ground between his feet ••• ateam rising. A SCREAMerupts from the bottom of her soul as Casey collapses to the floor ••• nearly passing out. CLOSEON her face ••• pale and ghostly white. She SOBS.

MAN Final question. Are you ready? She doesn' t answer. A long, maddening a ilence. Casey, reaches up and CLICXS off the light, making Steve go away ••• wishing, hoping ••• CASEY •• leave me alone •• please •••

MAN Answer the question and I will. Casey is curled up on the floor like an infant, rocking slowly back and forth.

MAN What door am I at?

CASEY What?

MAN There are two doors to your house. A front door and a back one. If you answer correctly--you live. From where Casey sits ahe can see both front and back doors. She deliberates ••• with her last bit of strength she tries to strategize. Eyeing both, the front door ••• the back door ••• trying to decide between the two.

( CON'l'INOED) 14. CONTINUED: ( 12 )

CASEY Don't make me•• I can't ••• I won"t.

MAN Your call. In the darkness, Casey crawls tot.he kitchen counter--she leans up and grabs a long, sharp knife. Casey looks around her ••• ahe looks down the hall to the front door ••• then turns back to the kitchen glass door as it suddenly •••

SHATTERS TO BITS • •• as a lawn chair comes flying through it. Exploding glass sprays everywhere. This incites Casey like fire. She springs to her feet ••• bolting out of the kitchen as a SHADOWmoves quickly through the shattered doorframe.

ANGLE ON CASEY Somewhere in the house, back flat against a window, listening to FEET ON CRACRING GLASS. She turns and unlocks the latch, quietly sliding it up. She can hear him move to the foyer ••• to the front door. Casey lifts herself up and puts her legs through the window. She holds the ~fe in one hand, the phone in the other. Casey eases out the window, fumbling, dropping the knife back inside the house. She starts to reach for it. Fuck it, she takes off ••• EXT. SIDE OF BOUSE Casey is at the back corner of the house.

MAN I can hear you. I know you're here. Casey eases along a narrow path between a tall fence and the side of the house ••• going for the front yard. She must pass the three curtainleaa windows. She gets to the first one and peeks in ••• The FIGURE has pulled open the foyer cloBet, searching for her. . Casey creeps a1ong, to the next window, she looks in ••• the FIGURE is completely on the other side of the room moving ~ · · toward the hall that leads to other parts of the house.

(CONTINUED) . 15. CONTINUED1

She moves further along the house ••• squeezing by hedges ••• to ~ · the third window ••• she peeks in to see the FIGURE••• \ -·· STARING BACK AT BER ••• Bis face covered with a ghostly white mask, inches from her ••• his eyes piercing through ••• soulless ••• casey SCREAMS BLOODYMURDER as a hand ••• CRASHESthrough the glass window grabbing hold of her neck ••• she beats at him trying to free herself ••• her nails dig into his &J:m ••• she wrenches from side to side ••• finally breaking free as the hands disappear inside the house •••

EXT. CORNER OF HOUSE Casey sails around the corner of the house, eyeing the front door. It remains closed. Her eyes cover the sprawling, country yard when suddenly ••• HEADLIGHTSAPPEAR in the distance, coming down the road towards the house ••• she recognizes them instantly. Mom••• Dad ••• she tears off across the yard toward them ••• moving like lightening ••• The car turns into the driveway ••• casey SCREAMS,waving madly, rushing by a tree as ••• THE GHOSTMASKED FIGURE APPEARS caeey stumbles back, catching her balance ••• the FIGURE moves on her, arm poised high ••• a flash of silver ••• and Casey is struck, across the chest. She looks down to see her shirt blossoming red ••• a look of bewilderment as she drops to one Jenee. The knife rises again ••• casey throws her hand foxward ••• the blade comes down ••• but it's blocked by the port.able phone still in her hand. She turns, staggering to •••

EXT. DRIVEWAY A MIDDLE-AGEDCOUPLE emerge from the parked car. They move to the front door completely unaware of what's happening to their daughter, only feet fram them.

Err. FRONT YARD casey stumbles fon,ard ••• ber parents ten feet away ••• she opens her mouth to scream but no sound resonates ••• she is beyond words ••• ataggering, swaying ••• the FIGURE moving behind bar. .16.

EXT. FRONTDOOR Ber parents approach the door. FATHER That fish smelled strong.

MOTHER I told you to send it back.

The father discovers the front door ajar. A puzzled look. Casey is right behind them with one arm outstretched. If they'd only turn around ••• They enter the house and close the door as ••. Casey collapses on the ground, clutching her bloody chest ••• the FIGURE upon her.

INT. FOYER The father sees straight back into the kitchen ••• the shattered patio door. FATHER Jesus •••

!Cl.1iER What is it? Where's Casey? FATHER (calling out) Casey? Casey? In a split second they• re both panic stricken. The father begins searching the house frantically. The mother is hysterical. EXT. FRONT YARD CLOSEON Caaey ••• ahe'a dragged by her feet through damp aoil ••• the life going fast from her body ••• her hand still clutching the phone.

INT. FOYER Back in the house.

M0'l'BER Where is she?

(CONTINUED) 17. CONTINUED:

FATHER ~ · Call the police. \ . The mother moves to the phone in the foyer, picks it up ••• there's no dial tone. She jiggles the base. FATHER (searching) Casey? Where are you honey? Call the police, goddammit.

MOT'HER ~he phone's dead. Then ••• the softest ••• faintest voice is heard ••• CASEY (from phone) Mom•••

MO'l'HER Oh dear God•• Casey baby. The slightest breath •••• a whimpering almost ••• from the receiver. CASEY (from phone) •• help me••• MOTHER She ' a here, God, I can hear her. Where' a my baby? The husband returns to the foyer finding his wife clinging to the phone. FATHER Where ia she? !Ol'SER I can hear her. Oh Mother of God, I can hear her. The father upturns the living room. FATHER Caseyl CASEYI

MOTHER Not my daughter ••• not my••• r"•.

(CONTINUED) 18. CON'l'!NUED: ( 2 )

The husband grabs hold of his wife. FATHER Get in the oar and drive down to the Mackenzie's. The mother throws the front door open and rushes out ••• the father moves through the house when a SCREAMechoes out. That of his wife. Be tears off for the front door. EXT. FRONT DOOR The father rushes out the door to find his wife, on her knees, bent over, retching. Bis eyes move beyond to a tree in the front yard ••• his stoma.ch fails him ••• hie dinner rises ••• as he bares witness to the single, most horrifying sight he' 11 ever see. That of his only daughter as she hangs from a big, oak tree ••• strung up ••• very muc::h dead ••• her stomach ripped open.

BLACKOUTJ BEGIN MAINTITLES FADEIN: INT. BEDROOM- SAMENIGHT

A teenage girl' e room. Neat and pinkish. on the bed, amongst age-old stuffed an.iJDals lie opened school books. The CAMERAPANS to a desk against the wall where ••• SIDNEYPRESCOTT a young girl of 17, sits, her face glued to the computer monitor in front of her. CLOSE ON her face. Sharp and clever with deep, lonely eyes. She" s comfortable in a plain, flannel nightgown. Her bands are at. work, typing feverishly, when suddenly ••• CRASB--BOOM A noise behind her. She turns abruptly, eyeing an open window across t.he room. A SCRATCHINGsound. She stands and moves toward it.

EXT. ~ Sidney sticks her head out the window. The late night wind bits her face as a SHADOWappears just to the left of her, a band reaches out, grabs her and suddenly a FIGURE is on top ~ ·· of her ••• 19.

INT. BEDROOM

Sid SCREAMS••• pulling away from the FIGURE••• breaking free, falling back onto the floor. VOICE (o.s.) Bey ••• it's just me. Sid looks up to see •••

BILLY LOOMIS A young, strapping boy of seventeen. Handsome and alluring. A star quarterback/class president type of guy. He sports a smile that could last for days.

SIDNEY Billy? What the ••• BILLY I'm sorry. Don't hate me. SIDNEY What are you doing here?

BILLY You sleep in THAT? Billy pulls himself through the window. SIDNEY (whispering) My dad's in the other room. BILLY I'll only stay a sec.

Suddenly ••• The bedroom door BURSTS open. The doorknob catches on the open closet door behind it jamming it, holding it in place. VOICE (from behind door) What' a going on in there? Billy quickly rolls out of sight behind the bed. Sidney unjams the doorto reveal ••• MR. PRESCOTT, late 40' s, a severe presence. A distracted man, nervous and pre-occupied.

(CONTINtJED) 20. CONTINUED:

{ .. MR. PRESCOTT Are you okay? • ".··l' SIDNEY Can you knock?

MR. PRESCOTT I heard screaming. SIDNEY No you didn't.

MR. PRESCOT'l' No? Oh, well ••• I •m hitting the sack. My flight leaves first thing in the morning. Now the expo runs all weekend so I won• t be back til Sunday. There"s cash on the table and I'll be staying at the Raleigh Hilton ••• SIDNEY •• out at the airport ••• MR. PRESCOTT •• so call if you need me. SIDNEY Got it. He gives the bedroom a quick once over.

MR. PRESCOTT I coulda swore I heard screaming. Sidney distracts him, giving him a peck on the cheek. SIDNEY Have a good trip. MR. PRESCOTT Sleep tight, sweetie.

Be gives her a wink and pulls the door closed. Billy reappears. BILLY Close call. SIDNEY What are you doing here? Billy tak~s a flying leap and lands on the bed. ·'

(CONTINUED) CONTINUED a ( 2 )

BILLY It just occurred to me that I've never snuck through your bedroom window. SIDNEY Now that it"s out of your system.

BILLY And I was home, bored, watching television, THE EXORCISTwas on and it got me thinking of you. SIDNEY Oh it did? BILLY Yeah, it was edited for TV. All the good stuff was cut out and I started thinking about us and how two years ago, we started off kinda hot and heavy, a nice solid •R• rating on our way to an NC17. And how things have changed and, lately, we' re just sort of ••• edited for television. SIDNEY So you thought you could sneak in my window and we would have a little bump-. bump. BILLY No, no. I wouldn' t dream of breaking your underwear rule. I just thought we might do some on top of the clothes stuff. She snuggles up next to him, planting a kiss on his lips. Passionate and gentle. He, however, responds like a shark, moving on top of her, his hands everywhere as he presses into her ••• Sidney breaks away.

SIDNEY Time to go, stud bucket. Billy sits up. His heart isn't racing ••• it's POUNDING. BILLY See what you do to me. Sweat has popped out all over his forehead, his breathing heavy.

(CONTINUED) 22. CONTINUED: ( 3)

SIDNEY You know what my dad will do to you?

BILLY ·

I ' I'm going •• I'm going. Be moves to the window. She follows, motioning to his wound. SIDNEY I appreciate the romantic gesture. She gives him a kiss goodnight. Sweet and simple.

BILLY (whisper) Bey •• about the sex stuff. I"m not trying to rush you. I was only half serious. She kisses him again as he eases through the window. SIDNEY Would you settle for a PG-13 relationship? BILLY What's that? She pulls her flannel gown open for a split second ••• flashing her left breast. Bis mouth drops open ••• surprise, shock. 'l'heir eyes meet. 'l'hey share a smile~ SIDNEY Get outa here.

CUT TO:

INT. SIDNEY'S BEDROOM- EARLYMORNING CLOSEon Sidney snuggling her pillow, sleeping peacefully when •••

'l'HE RADIO ALARMBLASTS from the night table loud enough to wake the dead. Sidney bolts up. DISC JOCKEY (from radio) •• found brutally murdered ••• CLICK. Sidney, quick with the reflexes, shuts it off instantly. A car trunk SLAMSshut outside. Sidney pulls herself out of bed and leans to the window just (":· in time to see her Dad jumping in his car. She half waves

(CONTINUED) 23. CONTINUED:

~·· down at him but he doesn • t see her. Be's as good as gone, pulling out of the driveway and disappearing down the road. A moment as Sidney stands at the window, staring out after him. EXT. SCHOOL- MORNING CLOSE ON A SIGN "BAYBOROHIGH SCHOOL.HOME OF THE FIGHTING BULLDOGS" THE CAMERAPULLS BACRTO REVEALa picture perfect small town school. Old and chuming. Students come and go, moving e.bout. Nothing unusual, except for the ••• six police cars, four news vans, flashing cameras, and crowds and crowds of lookie-loo' s gathered just off campus. EXT. SIDEWALR Sidney approaches the school seeing the commotion. Four different REPORTERSstand in front of four different cameras giving four different news reports. She moves passed a policeman standing guard. Ber interest peaked, she stops at the first reporter who is ••• GALEWEATHERS Thirties. Ber smart face is overshadowed by a flashy smile and a massive mane of chemically enhanced. hair.

GALE (for the camera) The small town of Bayboro, North Carolina was devastated last night when two young teenagers were found brutally butchered. Authorities have yet to issue a statement but our sources tall us that no arrest has been made and the murderer could strike again • .. ON SIDNEY. Moved, disturbed. From behind, a finger taps her shoulder. She spins around to see ••• TATUMRILEY, same age, feisty, carefree. TATUM Do you believe this shit?

(CONTINUED) 24. CONTINUED:

SIDNEY What happened? 'l'hey break away from the crowd and bead for school. TATUM Oh God 1 You don 4 t know? Casey Becker and Steve Forrest were killed last night. SIDNEY No way.

'l'ATUM And not. just killed, Sid. We' re talking splatter movie killed--split open end to end. SIDNEY Casey Becker? She sits next to me in English. TATUM Not anymore. Her parents found her hanging from a tree. Her ins ides on the outside. SIDNEY Do they know who did it?

TA'l'tJM Fucking clueless--they"re interrogating the entire school. Teachers, students , Btaff, janitors ••• SIDNEY They think it•s school-related?

TATUM They don• t know. Dewey said this is t.he worse crime they've ever seen. Even worse than ••• (stopping herself) Well it's bad. They're bringing in the :feds. Thie is big. Sidney looks back at Gale, her face deeply pained.

IN'l'. CLASSROOM- LATER A frumpy old woman, MRS. TATE, faces her class. Ber hands clasped together. A tragic look upon her face. ~ (·"· -, \ .

(CONTINUED) 25. CONTINUED:

MRS. TATE •• a terrible tragedy. An unbearable loss. It• s days like today we need prayer in school •••

Sidney sits near the rear of the room. The desk in front of her sits vacant. Sidney can't. take her eyes off it. The door opens and a student enters with a slip of paper. Be hands it to Mrs. Tate.

MRS. TATE Sidney. It appears to be your turn, dear. INT. PRINCIPAL'S OFFICE The room is at capacity ••• wall to wall with police, and the likes. Some sit, stand, lean ••• SHERIFF BURKE, a round man in his fifties, wipes the stress from his face. SHERIFFBURXE Who's up next? A young officer looks at a clipboard. This is DEPUTYRILEY, better known as DEWEY.He's a big guy, 20's, handsome in a r~···· .· scrubbed-clean boyish way. DEWEY Sidney Prescott. Sheriff Burke gestures to bring her in. PRINCIPAL HIMBRY, 50' s, an old codger of a man wearing a sour face speaks up. MR. HIMBRY Sidney Prescott. She was daughter of ••• DEWEY We all know Sidney, Mr. Himbry. SHERIFFBURXE Bow she doin • ? MR. BIMBRY She's adjusted well. Maintains an •A• average. You'd never know she •••• Bimbry stops short, seeing Sidney in the doorway. Be rises and seats her.

~·•. \

(CONTINUED) 26. CONTINUED:

SHERIFF BURKE Hi Sidney. SIDNEY Sheriff Burke. Dewey. Dewey shakes his head seriously.

DEWEY I'm Deputy Riley today, Sid. SHERIFF BUR!CE Bow is everything? SIDNEY Good. SHERIFF BURKE And your Dad? How's he doing? SIDNEY We' re fine. Thanks.

MR. BIMBRY We' 11 be brief Sidney. The police have a few questions they'd like to ask you ••• Sidney eyes them all nervously.

EXT. SCHOOL COURTYARD- LATER Students sit at outdoor tables eating lunch. Crowded at one table is the "gang". This consists of· Sidney and Billy and Tatum. Next to Tatum, sits her boyfriend STUART, with his arm draped across her back. Be' a a Billy wannabe. Almost the jock, almost handsome, almost cool. Be tries way too hard. Across the table i• the fifth wheel, RANDY. A tall and gangly kid with no such Billy-like aspirations. A witty jokester who elevates geek to coolness. TATUM Bunt? Why would they ask you if you like to bunt?

STU I don't know, they just did.

(CONTINUED) 27. CONTINUED,

~- .. \ ·.·. RANDY Because their bodies were gutted. Sidney flinches. BILLY Thanks Randy.

TATUM They didn't ask me if I liked to hunt.

STU Because there's no way a girl could have killed them. TATUM That is so sexist. The killer could easily be female--BASIC INSTINCT.

RANDY That was an ice pick--not exactly the same.

STU Yeah, Casey and Steve were completely hollowed out. Takes a man to do something like that. TATUM Or a man's mentality. SIDNEY (quiet, almost to herself) How do you gut someone? All eyes turn to Sidney. A serious silence. And then:

STU You take a knife and slit from the groin to the sternum. Sidney shivers down to her soul. The whole table rolls their eyes at Stu.

STU What? She asked.

BILLY It'• called tact, you fuckrag • r<"':......

(CONTINUED) 28 . CONTINUED:( 2 )

STU Sorry. RANDY Remember in JAWSwhen they caught the wrong shark at first and Richard Dreyfuss cut it open to to look for body parts and all they found was a license plate and all this white milky goo. Stu leans over and socks Randy in the arm.

STU You heard Billy--shut the fuck up. SIDNEY Bey, Stu? Didn't you use to date Casey? Stu's taken back, a little off guard.

STU For about two seconds. RANDY Before she d~ him for Steve. Tatum turns to Stu, surprised. TATUM I thought you dumped her for me.

STU I did. Be 's full of shit. RANDY And are the police aware you dated the victim?

STU (offended) What are you saying? That I like killed her or something?

RANDY It would certainly improve your high school Q. TATUM Stu was with me last night.

(CONTINUED) .. . ·.·::--:::.'.·· . .• . • '

·... · •, •. . . . . •. , ....

29. CONTINUED: ( 3 )

RANDY Oooooh••• betore or after he sliced and diced. TATUM Fuck you, nut case. Where were you last night? RANDY Working, thank you. TATUM I thought Blockbuster fired you.

RANDY Twice.

~ STU r . I didn't kill anybody. BILLY No one's saying you did. RANDY Besidea-- (perfect Stu mimic) ···. •Takes a man to do something like that.w ( :··· . STU I•m gonna gut your ass in a second. RANDY (to Stu) Did you really put her liver in the mailbox? I hear they found her liver in the mailbox . . . · ··. ·. .:..-~-~ -~ TATOM ( eyeing Sidney) ····.···.. . Randy, you goon-fuck, x•m eating here. .· . . . : ·.·. .. . ·.·.. •, ·. . , •.• .•·· · Stu nibbles at 'l'atum.•a neck •

STU Yeah, Randy, ahe'a getting mad. I think you better liver alone. Stu cracks up at hie own joke . The others just MOAN. Sidr is about to crawl out of her skin, trying hard to ignore i1 all. . EXT. SIDNEY'S HOUSE- LATER r- A huge two story country home with a spacious lawn. A yellow school bus stops in front of the house and Sidney steps off. The house looks big and lonely as Sidney moves up the walk to the front door. IN'r. BEDROOM- LATER Sidney is on the telephone. SIDNEY (into phone) You sure I can stay over? My dad won't be back til Sunday.

TATUM (through phone) No prob. I'll pick you up after practice. SIDNEY Tell your mom I said thanks. TATUM Yeah, yeah ••• look, are you okay? SIDNEY Uh-huh, it's just ••• you know, the police and reporters ••• it brings it all back. TATUM I'll be there by seven. I promise. SIDNEY Thanks, Tatum. TATUM Later. Sidney hangs up. She takes a seat at her computer and boots it up. She sits in front of it staring at the blue acreen ••• her own reflection staring back.

INT. LIVING ROOM - LATER Sidney comes down the stairs, her arms canying a change of clothes , toothbrush, make-up ••• r' . (CONTINUED) 31. CONTINUED:

She opens the hall closet and pulls a small overnight bag from the top shelf. Moving into the living room she loads it up, plopping down on the sofa, hitting the TV remote. CLOSEON THE SCREEN A news repo~er fades in. REPORTER#1 (on TV) The entire nation was shocked today by the teen murders in North Carolina ••• Sidney switches channels.

REPORTER #2 The State Bureau Of Investigation has joined forces with local authorities to help catch what the Governor has called the most heinous ••• The channel switches again. Gale weathers appears, standing in front of the school. Ber white teeth gleaming.

GALE This is not the first time the small town of Bayboro bas endured such tragedy. Only a year ago, Maureen Prescott, wife and mother, was found raped and murdered ••• An old black and white snapshot fills the screen--a woman, beautiful and familiar.

CLOSE ON SIDNEY eyes frozen, mesmerized by the image. Suddenly she CLICKS the TV off. Her eyes go to the clock on the end table. 5 i 45 PM. Ber eyes then move to the framed photo next to it .•. the same black and white photo stares at her ••• a healthy, vibrant woman. An older version of Sidney. Sidney curls up on the sofa, cloBing her eyes tight •••

INT. LIVING ROOM - LATER The clock on the end table reads 7: 15 PM. Sidney is fast asleep on the couch. The phone RINGS. Sidney leaps up grabbing the portable phone.

TATUM (from phone) Practice ran late. I• m on my way.

(CONTINUED) 32. CONTINUED:

SIDNEY (eyes clock) It's past seven. TATUM Don• t worry. ca ·sey and Steve didn • t bite it til way after · 10. SIDNEY I'm not worried.

TATUM . Good, 'cause I wanna awing by BLOCKBUSTER and get us a video. I was thinkin' Tom Cruise in ALL '1'HE RIGHT MOVES. You know, if you pause it just right you can see his penis. SIDNEY Whatever. Just hurry.

TATUM Bye. She hangs up the phone. It immediately RINGS again. SIDNEY (into phone) Tatum? MAN'S VOICE (from phone) Bello, Sidney. IT'S HIM. THE VOICE FROMBEFORE. SIDNEY Hi. Who is this?

MAN You tell me. Sidney thinks, trying to place his voice. It's sounds a little distorted. SIDNEY I have no idea.

MAN Scary night, isn't it? With the murders and all, it's like right out of a horror r-·-· movie or something.

(CONTINUED) 33. CONTINUED: ( 2 )

SIDNEY Aha, Randy, you gave yourself away. Are you calling from work? Tatum"s on her way over.

MAN . Do you like scary movies, Sidney? SIDNEY I like that thing you're doing with your voice, Randy. It's sexy.

MAN What's your favorite scary movie? SIDNEY Don't start. You know I don't watch that shit.

MAN And why is that? SIDNEY (playing along) Because they're all the same. It's always some stupid killer stalking some big breasted girl--who can't act--who always runs up the stairs when she should be going out the front door. They• re ridiculous. A brief silence.

MAN Are you alone in the house? SIDNEY That is so unoriginal. You disappoint me Randy.

MAH Maybe that's because I 'm not Randy.

SIDNEY So who are you?

MAN The question isn't who am I. The question is where am. I?

(CONTINUED) 34. CONTINUEI>i ( 3)

SIDNEY so where are you?

MAN Your front porch. This gives her pause. She moves to the window and pulls aside the drapes. SIDNEY Why would you be calling me from my front porch?

MAN That's the original part. ANGLE THROUGH WINDOW. She can. t quite see all of the porch. SIDNEY Oh yeah? Well I call your bluff. Sidney goes to the front door. She unlocks the bolt, unsnags the chain, and pulls the door open •••• revealing the front porch ••• COMPLETELYEMPTY. She steps out onto it, phone still in hand. A single light shines overhead illuminating the porch, but little beyond. Darkness is all around. SIDNEY So where are you?

MAH Right here. Sidney peers out into the darkness past thick shrubs that grow on either side of the porch. SIDNEY Can you see me right now?

MAN Uh-huh. SIDNEY What am I doing? She sticks her finger up her nose, pretending to pick. Silence. No answer.

(CONTINUED) 35. CONTINUED:( 4 )

SIDNEY Good try, Randy. Tell Tatum to hurry. Bye now.

MAN If you hang up, you'll die juat like your mother. Sidney's stops dead in her tracks, speechless.

MAN (deadly) Do you want to die, Sidney? Your mother didn't. His seriousness unnerves her. Sid flies off the handle. SIDNEY FUCK YOU1 YOU CRETINI She hangs up on him. Moves back inside the house. Locks, chains, and bolts the door when ••• A FIGURECOMES LEAPING OUT OF THE HALLCLOSET rushing her,rarnming into her side •• the phone flies ••• the FIGORE is on top of her as she goes down ••• SCREAMING••• She looks up to see the FIGURE, darkly dressed with a pale, distorted face, white and ghostly ••• a mask. Her instincts surf ace and she kicks up with her foot making contact with his leg ••• he topples over ••• coming right at her, his hand finding her neck. Suddenly, . a long, silver blade appears above her. Sidney pulls, jerks, twists ••• finally she lifts her torso forward knocking the FIGUREoff her ••• sending him reeling into the living room. Wasting no time, ,Sidney leaps to her feet. She moves to the front door, unlocke it ••• pulls it open ••• it catches on the chain. Shit! She pushes it closed again looking behind her •• the FIGUREhas risen, knife in hand. Sidney pulla on the chain and then--inexplicably turns and •••

RUNSUP 'l'BE STAIRS. The FIGUREright behind her. INT. UPSTAIRSLANDING The FIGURE leaps at Sidney taking bold of her foot, she grabs madly at the wall ••• her hands grasp a framed painting--a .I':.~_::: quiet country home, aw:x1ued colors, done in oils--she rips it ~ ,: from the wall swinging it behind her •••

(CONTINUEI>) .::::.·. . . :--·- -: . · .. -·-.· ·.... _ . _- .-. :~ .· .. . -•,._. ' .··.·. .· ·-...... ·•

~ -· 36. CONTINUED:

It catches the FIGURE head on, smashing against his skull, sending him backwards, tumbling down the stairs. Sidney races to her bedroom •••

INT. BEDROOM She locks the door shut, then pulls her closet door open, placing the edge right at the door knob just as •••

'1'BE FIGUREPOUNDS AGAINST THE BEDROOM DOOR ••• • ramming it, it rips open, but the closet door catches it in a crazy vice-like hold. Sidney grabs the desk phone. It's dead •• off the hook downstairs. The figure rushes the door several times •• the frame ·,:• _.··:-. · ...._ .-:_;. splinters •• but won't give. -~ l Sidney is at her computer, she punches at the keypad madly. CLOSEON SCREENAS WORDSAPPEAR.

FAX MODEM

. . .- ... I ·.. \.···.·. · 9-1-1 SEND The knife slashes through the crack in the door wildly. ON SCREENAGAIN

HELP KILLER

34 ELM ST Sidney presses SEND when it occurs to her--all is quiet. The FIGURE is gone. A fearful silence. She looks around ••• the only sound her own rapid, terrified BREATHING. ·.. . ·-.-·.-·-'·.. _:· - ON THE SCREEN •stay calm. Police enroute.• ·: ·,:·.·-.· ·.·.•· ·. ·,. ·.• : . ··, Suddenly a NOISE at the window ••• Sidney looks up to see ••• BILLY ber boyfriend, staring at ber, surprised. 37. CONTINUED:

Sit>NEY Oh Billy ••• please ••• God ••• BILLY I heard screaming. The door was locked. Are you okay ••• SIDNEY Be's here. Be"s trying to kill me•••

Billy pulls himself throu9h the window. As he does , a small black object falls from his dark jeans. It hits the floor as· Sidney eyes it ••• a sleek, compact cellular phone. Sidney stops in her tracks. Their eyes meet ••• an etemity. A SIREN is heard in the distance. Sidney bolts ••• BILLY Hey ••• wait ••• what's goin •• Billy reaches for her. Sidney unblocks the bedroom door and tears out of the room. INT. LANDING Sidney nearly falls down the stairs ••• INT. FOYER She rips the chain off the door, pulls it opens, coming face to face with a white, ghostly mask. A massiye SCREAMerupts from her gut as ••• THE CAMERAPULLS BACK to find Oewey--Deputy Riley, holding it. Red lights flash, sirens BLAST as car after car surrounds the house. Sidney falls ·into the safety of Dewey's arms.

EXT. FRONT YARD - MINUTES LATER

The yard is a whirlwind of activity. An amJ:>ulance, squad cars, cops everywhere ••• CLOSE ON BILLY'S FACE as it SMASHESagainst the hood of a police car. His hands are 1:>eing cuffed, his rights being read.

(CONTINUED) 38. CONTINUED:

BILLY (screaming) I didn' t do anything 1 Sid ••• where• s Sid? Ask her, she'll tell ya •.. Dewey holds a car door open as Sheriff Burke steps out.

DEWEY We got him, Sheriff. Billy Loomis.

SHERIFF BtJRKE Bank Loomis' kid? Aw•• Jesus •••

DEWEY Be's her boyfriend. They approach Billy as he's being placed in a squad car. BILLY Sheriff ••• I didn't do it ... please, call my Dad •• please ••• The squad car disappears with Billy as another car comes to a stop in front of the house. Tatum gets out, freaked beyond belief. Baek to the Sheriff and Dewey as they storm across the yard.

DEWEY I was first to respond. SHERIFF BURKE What were you doing out here? DEWEY Drive by patrol. SHERIFF BURKE Bow is she? DEWEY She's tough.

SHERIFF BURD &ave to be. The shit she's gone through. · Across the yard, sits Sidney, in the back of an ambulance as PARAMEDICScheck her out. Sheriff Burke and Riley approach.

(CONTINUED) 39. CONTINUED: ( 2 )

SHERIFFBURKE We're seeing a lot of you today. She tries to smile but fails. DEWEY You gonna be able to come down to the station and talk to us a bit? SIDNEY • • yeah .•• Tatum appears, barreling past an OFFICER. TATUM What happened? Oh God ••• Tatum rushes to her, grabbing hold of her. DEWEY (to Tatum) What are you doing here?

TATUM Ob, God, Sid, I'm sorry I was late. DEWEY You can' t be here, Tatum. This is an official crime scene. SIDNEY It• s okay. She was supposed to pick me up.

'.rATtJM Ber dad's out of town. She's staying with us.

J)EWEY Does mom know?

'1'ATUM Yes, you doofus. Two news vans came driving up the street.

SHERIFF BURKE The vultures are coming. Let• a get you out of here.

~ - 40. .

EXT. STREET A big, white news van comes to a stop in front of the house. The side door slides open and Gale Weathers hops out just in time to see Sidney being escorted to a squad car.

GALE I'll be damned. Jumping from the driver's seat is KENNY, Gale's cameraman and flunky. An earnest, young chap on the chubby side.

KENNY What? What?

GALE Jesus I The camera-hurry l But it's too late. Sidney is as good as gone. Gale sees Tatum moving quickly to her car.

GALE Excuse me? Tatum looks up to see Gale Weathers rushing her.

GALE Was that Sidney Prescott they took away? TATUM I don't know. Tatum hops in her car, ignoring her.

GALE What happened to her? TATUM I'm not talking to you. Tatum's car peels out as Kenny comes running up with his camera. DNNY Where'd she go? Gale spins around, flashing her pearly whites.

GALE Look, Kenny, I know you're about fifty pounds overweight but when I say hurry please interpret that as ••• MOVEYOUR FAT ~-· ,: T'O'B OF LARD ASS NOW1

(CONTINUED) 41. CONTINUED:

Gale moves back to the van leaving Kenny miffed. INT. POLICE STATION- LATER

A small town station. The bull pen is a little square room with four desks and tonight--it's hopping. Cops everywhere. IN'.r. SHERIFF'S OFFICE Sidney sits at a desk drinking a cup of water. She wears the Sheriff• s jac:ket over her shoulders. Dewey approaches. smNEY Did you reach my Dad? DEWEY You're sure it was the Hilton? SIDNEY At the airport. DEWEY He' s not registered. could he have gone to another hotel? SIDNEY ,Ii_:> I don't know. I guess. c- DEWEY We'll find him, Sid. Don't worry. Sidney stares blankly, numb. INT. SHERIFF'S OFFICE

Billy sits opposite Sheriff Burke. Next to Billy, sits his father, BANK LOOMIS, an older version of Billy. SHERIFFBURKE What are you doing with a cellular telephone, son?

MR. LOOMIS It• s my phone. Se was just playing around with it. SHERIFF BURKE You got some idea of playing around, boy.

BILLY I didn't call anyone with it. I just took it for fun.

(CON'l'INUED) 42. CONTINTJEOi

MR. LOOMIS Everybody ' s got one now. Why don• t you check the phone bill for chrissakes. Call my carrier--AirFone Comp. They• 11 have records of every number dialed. SHERIFFBURKE Thank you, Hank. We're on it. What were you doing out at Sidney's tonight? BILLY I just wanted to see her, that's all. SHERIFFBURKE You_rode your bike out there? BILLY Yes, sir. SHERIFFBURKE And last night? Sidney said you crawled through her window last night too? MR. LOOMIS (surprised) You were out last night? BILLY I watched TV for awhile but then I felt like going for a bike ride. SHERIFF BURKE Did you ride past Casey Becker•s house? BILLY No, I didn't. I didn't kill anyone., Sheriff. · SHERIFF BURKE We•re gonna have to keep you, Billy. The governor's got SBI, FBI, and god knows who else on their way down here. Billy fights tears. BILLY This is crazy. I didn't do it. Sheriff Burke eyes him up and down, very carefully.

( .·:. ~ - 43.

INT. POLICE BULL PEN - MINUTES LATER Tatum has joined Sidney. The sheriff• s door opens and Billy is led out by a coupla UNIFORMS. Burke and Dewey appear in the door watching Tatum comfort Sidney.

OUT or EAR SHOT DEWEY That ghost mask is sold at both Kroger's and WalMart. Neither of which keep purchase records.

SHERIFF BURD What about the cellular phone bill? DEWEY They• re pulling Loomis' account. But it'll be morning before we see something. You think he did it? SHERIFFBURKE Twenty years ago I woulda said not a chance. But these kids today ••• damn if I know.

TATUM (o.s.) Bey •• Dewey. Can we go now?

DEWEY Bold up a sec ••• SHERIFF BURKE She staying with you?

DEWEY We haven't located her Dad yet.

TATUM (0.1.) Goddammit, Dewey t Dewey turns to her, his face red. DEWEY (screaming) What did Mama tell you? When I wear this badge you treat me like a man of the law.

~ --

(CONTINUED) CONTINUED:

TATUM _, I'm sorry, Deputy Dewey-boy but we're ~· ready to go. SHERIFF BURKE use the back way. Avoid the circus. EXT. POLICE STATION - SIDE DOOR The door opens and Sidney, Tatum, Dewey, and a coupla OFFICERS exit avoiding the horde of REPORTERSthat can be seen around the corner waiting anxiously at the front entrance.

DEWEY I ' 11 get the car. Wait here. Dewey takes off. From .the darkness of the alley, Gale Weathers appears with Kenny and his camera. They've been waiting.

GALE Bello Sidney. Sidney spins around to see Gale, standing, smiling at her. Sidney's body tightens and her face goes taut.

GALE Some night. Are you alright.? Their eyes meet in a cold familiar stare. Sidney says nothing. She's visibly shaking.

GALE What happened?

TATUM She's not answering any questions. Just leave us alone, okay? SIDNEY It ' s okay, Tatum. She' a just doing her job. Right, GALE?

GALE Yes, that'• right. Dewey, in a squad car, turns into the alley and pulls up. The other news people have wisened up. They begin to flock the alley.

(CONTINUED) 45. CONTINUED:

SIDNEY How's the book?

GALE It'll be out later this year. Sidney tries to contain herself •• squeezing a clenched fist. SIDNEY I'll look for it.

GALE I'll send you a copy. In a blurred, unexpected instant, Sidney brings her fist forward, SMASHINGit hard into Gale Weathers' s face. The impact sends Gale reeling backwards, knocking into Kenny as . ·, they both tumble to the pavement • ON SIDNEY••• breathing deep, a sense of satisfaction on her face.

INT. TATUM'S BEDROOM- LATER A spacious bedroom. Typical. Tatum and Sidney lay on the bed. They both wear night shirts. TATUM God, I loved it. "I'll send you a copy.• BAMl Bitch went down. • I • 11 send you a copy.• BAMl Sid--SuperBitcht Dewey appears in the doorway holding a bag of ice. DEWEY I thought you might want some ice for that right book. Sidney sits up, takes the ice, and puts it on her hand. DEWEY I' 11 be right next door. Try to get some sleep. Dewey moves back out the door. SIDNEY Any word on my Dad? DEWEY (turning to her) Not yet, but we' re looking. If you need anything •••

I ,._,..,T.,-rl 46. CONTINUED:

/ ·. TATUM r--- Yeah, yeah, yeah ••• Dewey smiles, pulling the door closed on his way out. Sidney lies back down. SIDNEY Just another sleepover at the Riley's.

TATUM Just like old times, ain't it? SIDNEY No, nothing's like it used to be. Sidney rolls over on her side, away from Tatum. A telephone RINGS somewhere in the house. TATUM Doyou really think Billy did it? SIDNEY He was there, Tatum. TATUM .. · I knew the guy was too perfect. He was r· destined to have a flaw. A KNOCKat the door. It opens and a friendly, graying woman pops in. This is MAMARILEY. She wears a comforting smile. MAMARILEY Telephone, dear. TATUM Who is it?

MAMA JULEY It's for Sid. SIDNEY My Dad? Mama Riley shakes her head sadly.

TATUM Take a message. SIDNEY It's alright. 1•11 get it. r.::· ~­ (

(CONTINUED) 47. CONTINUED: ( 2 )

Sidney takes off out the door. Mama Riley motions to Tatum. MAMARILEY (whispers) How is she? Tatum shrugs.

INT. HALLWAY Sidney grabs the phone at the end of the hall. SIDNEY Bello?

MAN ( from phone) Bello Sidney.

IT'S HIM. The CAMERA does a Hitchcock as Sidney's entire body goes weak •• his VOICE moving through her •• invading her. She CRIES OUT. SIDNEY NOOOOOOO•••

Mama Riley turns in th~ doorway. Tatum comes bolting out of the bedroom.

MAN (from phone) Poor Billy-boyfriend. An innocent guy doesn't stand a chance with you. SIDNEY LEAVEMEALONE1

MAN Looks like you fingered the wrong guy ••• aqain. SIDNEY Who are you?

TATUM Bang up, Sid.

MAN Don't. worry. You'll :find out soon enough. I promise.

Mama Riley BEATS on a closed bedroom door.

(CONTINUED) 48. CONTINUED:

MAMA RILEY r·- DeweyI Dewey1 MAN This is gonna be fun, Sidney. Just like old times. CLICK. Dewey flies out of his room wearing only his boxers •• holding his gun. DEWEY What? What? The phone goes dead. Sidney stands frozen. EXT. BAYBOROMAIN STREET- DAWN- ESTABLISHING The morning sun shines high over Bayboro Townsquare. Cars come to life, townsfolk stir as the picture postcard community awakens from a restless sleep. INT. KITCHEN - MORNING Sidney and Tatum sit at the kitchen table, dressed and ready for school as Mama Riley serves up breakfast. A small television sits on the counter BLARING. Dewey, in uniform, stands near the door, talking on the phone. MAMARILEY I think you girls really should stay home today. .

TATUM Your objection is duly noted. SIDNEY I'd rattier be around a lot of people, Mama Riley. From the TV, Sidney hears her name, • SIDNEY PRESCOTT••• • All eyes go to the television. REPORTER (on TV) •• who escaped a vicious attack last night was the daughter of Maureen Prescott who was brutally killed last year when .convicted murderer Cotton Weary •••

(CONTINUED) CONTINUEDs

INSERT of COT'l'ON WEARY, in prison fatigues. A once handsome man, now haggard and worn. REPORTER (cont'd) •• broke into their home and savagely raped and tortured the deceased. Cot ton Weary is currently awaiting appeal for the death sentence handed down after the young Sidney testified against him. She was the key witness in the state•s prosecution ••• ·

SIDNEY It's never gonna stop. Is it? Dewey is off the phone.

DEWEY Billy was released. Bis cellular bill was clean. Be didn • t make those calls. SIDNEY Somebody called me, Dewey. I• m not making it up.

DEWEY I know. we• re checking every cellular account in the county. Any calls made to you or Casey Becker are being cross­ referenced. It's gonna take time but we'll find him. SIDNEY And my Dad? Any word on him? Riley shakes his head •no•.

EXT. SCHOOL STREET - LATER once again, REPORTERSline the street attacking students as they make their way to school, asking questions, hungry for that teenage insight. Dewey's patrol jeep cruises by. Sidney watches from the passenger•s window. INT. PATROL JEEP Dewey pulls up in front of the school. Tatum hops out while Sid lingers, suddenly unsure. Dewey takes notice.

(CONTINUED) so. CONTINUED:

DEWEY Hey, it's school. You'll be safe here. Sidney forces herself cut of the jeep as a microphone is shoved in her face ••• REPORTER Bow does it feel to almost be brutally butchered? Dewey leaps from the car, i.ntercepting the reporter. DEWEY Leave the girl alone, will ya? She wants to go to school. Sidney eyes the newsvan that's pulled up behind her. The side door slides open and Gale Weathers steps out. TATUM Come on, Sid. SIDNEY Just a sec ••• I need to talk to.someone. She heads over to Gale. EXT. NEWSVAN- STREET Sidney, puts her head down, hiding her face ••• avoiding other reporters as she makes her wa:y to ••• Gale who sits in the open door, checking her face in a mirror. Makeup tries hard to hide Sid's handiwork--a swollen black and blue right cheek. Gale spots Sidney immediately and leaps to her feet..

GALE Stop right there. Sidney throws her bands up in surrender. SIDNEY I"m not here to fight.

GALE Just stay back. SIDNEY I want to talk to you.

(CONTINUED) 51. CONTINUED:

GALE ( calling into the van) Kenny. Camera. Now. Kenny's head darts out from the van. SIDNEY Off the record. No cameras.

GALE Forget it. Sidney contains herself. SIDNEY Please. You owe me.

GALE I owe you shit. Gale moves inside the van. But Sidney is relentless. SIDNEY You owe my mother.

GALE Your mother's murder was last year's hottest court case. Somebody was gonna write a book about it.

SIDNEY And it had to be you with all your lies and bullshit theories.

GALE What is your problem? You got what you wanted. Cotton Weary is in jail • They' re gonna gas him. A book is not gonna change that. smNEY Do you still think he's innocent?

Gale I a interest is peaked. She eyes Sidney suspiciously.

GALE He was convicted in a court of law. tour test.illlony put him away. It doesn't matter what I think.

(CONTINUED) 52. CONTINUED: ( 2 )

SmNEY [·:· During the trial, you did all those stories about me. You called me a liar.

GALE I think you falsely identified him. Yes. smNEY Have you talked to Cotton?

GALE Many times. SIDNEY Bas bis story changed?

GALE Not one word. He admits to having sex with your mother but that's all. SIDNEY He' s lying. She woulcln • t have touched him. Be raped her, then butchered her. Her blood was all over his coat.

GALE Be was drunk that night. Be left his coat at your house, after your mother seduced him ••• SIDNEY I saw him leave wearing it.

GALE But couldn't it have been someone else you saw wearing that coat? The same person who planted it in Cotton· s car, framing him? The same person who really killed your mother? A long beat. Sidney considers this for the millionth time. SIDNEY No, Cotton murdered my mother. But there's doubt in her voice. Gale's face lights up.

GALE You're not so sure anymore, are you?

.. •,... Sidney clams up •

(CONTINUED) 53. CONTINOEDt ( 3)

SIDNEY ~-- it \ . No, was Cotton. Tatum comes waltzing up.

TATUM (to GALE) Nice welt. Gale ignores her, zeroing in on Sidney, half realizing.

GALE The killer is still on the loose, isn't he? These murders are related.

TATUM Yo--let•s rock. Sidney starts to fidget. SIDNEY I'm sorry I mangled your face. She takes off with Tatum. Gale calla after her.

GALE Wait, Sidney, don't go ••• But Sidney and Tatum have already disappeared in the crowd of students moving across campus. Gale looks to Kenny.

GALE Jesus Christ f An innocent man on death row. A killer still on the loose. Kenny, tell me I 'm dreaming.

KENNY You want to go live? Gale"s mind races with possibilities.

GALE No, not eo fast. We have nothing concrete.

KENNY When did that ever atop you? You can• t sit on this. This is huge.

(CONTINUED) 54. CONTINtJED: ( 4 )

GALE If I'm gonna blow this up--I need hard proof.

KENNY But it• s so much easier when we make it up.

GALE Not this time. I owe Cotton that much. Bell, even I thought the man was guilty. EXT. SCHOOLCAMPUS - SECONDSLATER Tatum and Sidney make their way across campus. TATUM Just relax. You' re at school now. No one can get you here. SIDNEY But if it wasn't Billy it could be ilnybody. He could be here at school right now. They move up the walk as a FIGURE falls in step behind them, sporting a WHITE GHOSTMASK. TATUM Serial killers are smart by definition. They minimize their risk. They plan and pre-calculate everything. Showing up here would be like the most lame-brain move he could make. SIDNEY Be promised me he'd be back. As easy as the figure appeared, it disappears--falling out of sight, unseen by either of them. TATUM I wouldn't put too much stock in a psycho' a promise. They move up the front steps toward the main doors of the school as the GHOSTMASKED FIGURE reappears ••• standing at the top of the stepa •• Sidney sees it first, stopping dead in her tracks. · She steps back, spinning around to find •••

(CONTINUED) . ::-·.·. ·= ·•

55. CONTINUED:

A GHOSTFACE .behind her as well, both of them approaching, closing in on her. Sidney starts to SCREAMwhen the two ghosts bust up LAUGHING,tearing off across campus.

EXT. STREET

In front of the school we catch a REPORTERdoing a live remote. Be holds a mask in his hand. REPORTER This morning several students, in what appears to be a prank, have been spotted wearing masks. School officials have yet to comment but this is the same type of mask worn by the killer •••

' INT. HALLWAY- MINUTES LATER ·.A.::··c-· ·, Just before the bell. The hallway is congested with students heading to class. Tatum is at her locker with Sidney. SIDNEY This is a mistake. I shouldn•t be here. TATUM I want you to meet me right here after class, okay? Billy appears in the crowd, with Stu tagging behind. Tatum. spots him first.

TATUM Shit, what is he doing her~? SIDNEY I bet he's pissed. TATUM Just ignore him. You had good reason to ·.. ·· .. ·..... think what you did. Billy and Stu approach. Billy's face is solemn. BILLY Bi, Sid. Can we talk a sec? Sidney says nothing. She can barely look at him. Tatum intervenes.

TATUM You know if I were accused of carving up .two people, I'd take the opportunity to skip school. S6. CONTINUED:

STU Hey, go easy, Tatum. He didn't do it. BILLY Talk to me, Sid. Suddenly, a SCREAMerupts •. All eyes 90 to a GHOST MASRED STUDENT running down the hall, screaming wildly, running amuck. SIDNEY Why are they doing this?

STU Are you kidding? 'l'his is like Christmas. Billy punches Stu in the side.

STU Owwww••• BILLY You open your mouth and stupidity pours out.

STU Sorry. Sidney, clearly upset, takes off. down the ball. Billy races off after her. TATUM (yelling) Stay away from her, Billy • . Tatum SLAMSher locker shut as the bell RINGS. INT. CORRIDOR- SECONDS LATER With first period underway, the halls have cleared. One or two straggling students can be seen rushing to class. Sidney moves quickly down the hall, rounding a comer, running smack into ••• BILLY They collide hard catching Sidney off guard, scaring the life out of her. She f alla backwards, l:Nt Billy catches her fall.

(CONTINUED) CON'l'I:NtJ'ED:

I SIDNEY r Jesus, SHIT! BILLY Bey, hey, it's just me. Sidney pulls away from him ·quickly. Billy feels the slight. BILLY What? You don't still think it's me? Sidney catches her breath. SIDNEY No•• I don•t ••• it's just ••• Oh God, Billy, someone was there, someone tried to kill me. BILLY The police say I scared him off. It wasn't me, Sid. SIDNEY I know. He called again last night at Tatum's house.

,' .·- .... BILLY See, it couldn't have been me. I was in jail. Rememt>'!r? SIDNEY I'm so sorry ••• please understand. BILLY Understand what? That I got a girlfriend who would rather accuse me of being a psychopathic killer than touch me. SIDNEY You JcnCNthat's not true. BILLY Then what is it? Ia there somebody else? SIDNEY No ••• BILLY Is it the aex thing? Am I being too pushy?

(. ~ -·

(CONTINUED) S8. CONTINUED: ( 2)

SIDNEY No, it's me, Billy. I need time. I'm still adjusting to my mom. BILLY It's been a year since she died. SIDNEY (correcting him) Tomorrow. One year tomorrow. BILLY When are you gonna let that go, Sid? When my mom left my dad--I just accepted it. This is the way it is. She"s not coming back. SIDNEY (sharply) Your parents split up. It's not the same thing. Your mom left town, she• a not in a coffin somewhere. BILLY You have to move on, Sid. ()}: r:> Sidney starts to walk away but turns back, angry. SIDNEY I'm glad to know you•re coping so well with life, Billy. But some of us aren't so perfect. Some of us are just trying to hold on. Sidney disappears through a door marked GIRL'S BATHROOM, leaving Billy alone in the hallway. He• s SMACKS his forehead, pissed at himself. INT. GIRL'S BATHROOM Large and spacious. Closed bathroom stalls line one wall facing a row of sinks and a huge mirror. Sidney enters as 'l'WO GIRLS tinkle and talk--each from their respective stalls. GIRL #1 She was never attacked. I think she made it all up. GIRL #2 Why would she lie about it?

~ -- '·

(CONTINUED) 59. CONTlNtJED:

,: ::':, GIRL #1 \ .•' For attention. The girl has some serious issues. Sidney listens intently. A toilet FLUSHES. Sidney quickly jumps in a stall, hiding, just as GIRL #1 appears from a stall. She looks like her voice--a snotty little twit. GIRL #1 What if she did it? What if Sidney killed Casey and Steve? GIRL #2 And why would she do that? GIRL #1 Maybe she was hot for Steve and killed them both in a jealous rage. Another toilet FLUSHES.

GIRL #2 What would Sidney want with Steve? She has her own bubble-butt boyfriend Billy. GIRL #1 Maybe she•s a slut just like her mom. INSIDE 'l'HE STALL Sidney listens. Ber face weakening. GIRL #2 You•re evil.

GIRL #1 Please, it• s common knowledge. Ber mother was a trollop. GIRL #2 appears from her stall-another twit. They both stand in front of the mirror adjusting two snotty faces. GIRL #2 cut acme alack. She watched her mcm get butchered. Gltu. #1 And it fucked her up royally. Think about it. It makes perfect sense. Ber men• a death leaves her distraught and hostile at a cruel and inhumane world, she' a disillusioned, where ' a God, etc. Completely suicidal. And one day she (MORE)

(CONTINUED) 60. CONTINUED: ( 2 )

GIRL #1 (cont'd) snaps. She wants to kill herself but realizes teen suicide is out this year. And homicide is a much healthier therapeutic expression. From the stall, Sidney listens, her heart pounding, jaw quivering. GIRL #2 Where do you get this shit? GIRL #1 Ricki Lake. The two girls exit. Sidney moves out of the stall, catching her reflection in the mirror. SIDNEY Pathetic. Water DRIPS somewhere from a leaky pipe as wind WHISTLES in from the cracked transom above the bathroom door. It sounds almost like a whisper, •siddneey ••• • Sidney spins around. What the... She checks out the bathroom. The doors to the stalls are all closed. She bends down and scans beneath them, looking for feet. No one. Nothing. Sidney turns back to the mirror. Suddenly •••

MAN (o.c.whisper) Siddneey ••. Unmistakable this time. The VOICE strikes Sidney like a nail through the eye. It comes from one of the stalls. She stands thunderstruck, eyeing the stalls thru the mirror. SIDNEY Is someone there? A long, morose silence. And t.heni

MAN (softly, simply) It's me, Sidney. Sidney spins around. Fuck nol BE•S HERE. Terror floods her face. She eyes the exit door, then the raw of stalls she must pass to get to it.

(CONTINUED) 61. CONTINUED: (3)

~: She checks under the stalls again. Nothing ••• where the fuck r-·. is he? She takes a step fonrard when ••• TWOFEET step down from a toilet onto the floor in the last stall. Sidney's face draws tight as the stall door begins to CREAKopen. She bolts forward, making a break for it ••• but slips on wet floor ••• her feet flying out from under ••• Sidney reaches out ••• grabs hold of a sink ••• saves herself from falling ••• she glimpses a GHOSTMASK in the mirror coming for her. A hand grabs her shoulder as she SLAMSher body through the exit door ••• narrowly escaping. INT. CORRIDOR- CONTINUOUS Sidney flies out of the bathroom door SCREAMING••• burning up the hallway, not looking back. A TEACHER, hearing her SCREAM,peers out from an open doorway ••• as Sidney sprints by him, not stopping ••• running madly. INT. PRINCIPAL'S OFFICE - CONTINUOUS CLOSEon a red-faced Principal Bimbry as be reads someone the riot act. MR. BIMBRY 1_.•·. I'm sickened. Your whole havoc-inducing, r· thieving, whoring generation disgusts me. The CAMERASWINGS AROUND to reveal two GHOSTMASKED STUDENTS standing at attention. Mr. Himbry rips the mask off of one of the student"s heads. MR. BIMBRY Two students have been savagely murdered. And this is how we express our compassion and sensi ti vi ty? He rips the mask off the other student. MR. BIMBRY We throw on a mask and dance around campus just hoping someone else gets butchered before we get bored again. You're DOth expelled. The GHOSTSdoth protest ••• GHOST#1 Aw, come on, Mr. Himbry, it was just a joke. __i"' r··

(CONTINUED) 62. CONTINUED:

-.. . GHOST#2 r Yeah, that's not fair. A deep rooted hostility has taken over Mr. Bimbry"s face. Neither student budges, scared to even breathe. MR. BIMBRY No, it's not fair. Fairness would be to rip your insides out and hang you from a tree so you can be exposed for the desensitized, heartless little shits that you are. Suddenly the door BURSTSopen and Sidney appears, hysterical. SIDNEY (crying) Be"s here ••• I saw him ••• he's here •••

Mr. Bimbry rushes to her, 8%D1S outreached. MR. BIMBRY Easy child.

Sidney collapses in his a%'1DS. ,1 .· • r' '· EXT. SCHOOLSTREET - MINUTESLATER Dewey' s patrol jeep is parked in front of the school. Be stands in the open driver's door talking on the radio. SHERIFF BURKE (from radio) She' a okay. Looks like sOJne boys were teasing her. Himl:>ry• s shuttin' down the school though. I want you to take a look around. DEWEY Yes, air, sheriff. Dewey shuts the jeep door and heads for campus when Gale Weathers appears, her fake face aglow.

GALE Bil Gale weathers. Field Correspondent, INSIDE STORY. DEWEY I know who you are, ma'am. Bow' a the eye?

(CONTINUED) 63. CONTINUED:

GALE Productive. so they' re closing down the school?

DEWEY Well •• uh •• yes ma•am. For the time being. Dewey heads for the school building. Gale scurries along side him flirtatiously.

GALE And why is that? ·Has sam.ething happened? DEWEY You' re not supposed to be here, ma' am.

GALE I know, I should be in New York covering the Sharon Stone stalker but who knew? Please, call me Gale. You look awfully young to be a police officer. Dewey's eyes wander down to Gale's long legs, the way her hips move as she walks ••• he's clearly distracted. DEWEY I'm twenty-five years old, ma'am.

GALE Twenty-five, huh? In a demographic study I proved to be most popular amongst males, ll-24. I just missed you. Of course, you don• t look a day over twelve, except in the upper torso area. Does the force require that you work out?

Dewey looks away, blushing a bit. DEWEY No, ma' am. Because of my boyish good looks, muscle mass has increased my acceptance aa a serious police officer.

They approach the school• a front entrance. Suddenly, Mr. Himbry' a VOICE is amplified through interc~ across campus via the PA system. They stop to listen. MR. HIMBRY (via PA) "Your attention please. Due to the recent events that have occurred and until it comes to a resolve-effective immediately--all classes are suspended (MORE)

(CONTINtJED) 64 •, CONTINUED z ( 2)

MR. HIMBRY(cont•d) til further notice. The Bayboro Police Dept. has also asked me to announce a city wide curfew beginning at 6 o'clock PM. I repeat ••• • Gale speaks over Mr. Himbry • s VOICE.

GALE Boy, you people sure do make a fuss over a aerial killer.

t>EWEY Serial killer is not really accurate, ma' am. The killer has yet to strike twice.

GALE Well, we can hope, can't we? We certainly don't have any leads. A ghost mask, a cellular phone--not much there.

DEWEY We're tracking the cellular phone bill.

GALE Really? You small town guys are good. And have you located Sidney's father? DEWEY No, not yet.

GALE He•s not a suspect, is he? DEWEY We haven't ruled out that possibil ••• Dewey, realizing he's said too much, clams up. DEWEY If you'll excuse me, ma•am.

GALE Am I keeping you? I •m sorry.

DEWEY That's quite i!llright. If I may say so, ma'am, you're much prettier in person. Dewey starts up the school's front ateps as the bell RINGS. f

(CONTINUED) 65. CONTINUED:( 3 )

/ .. . I GALE ( So you do watch the show? Be turns to her earnestly as STUDENTScome pouring out the front doors.

DEWEY I just turned 25. I was 24 for a whole year.

GALE You are precious. Please, call me Gale. She smiles deliciously, gives him a wink, then struts off as Dewey, like a nervous little school boy watches her go. INT. SCHOOLCORRIDOR - SECONDSLATER School is clearing out. The halls have begun to empty as Tatum escorts Sidney down the hallway.

TATUM It was just some sick fuck having a laugh. SIDNEY It was him, Tatum. · I know it. Tatum wants to believe her but ••• TATUM You are not to be alone again. Is that clear? If you pee--I pee. Stu appears. STU Is this not cool or what? • Bey, Sid, what happened?

'l'ATUM For once, Stu, drop it.

S'rO Okay, but whatever you did--the entire student body thanks you. Stu moves to Tatum and gives her a kiss.

STU And to celebrate this impromptu fall ( . t>reak, I propose we have a party. Tonight, my house. ~ ·

(CONTINUED) 66. CONTINUED:

SIDNEY Are you serious?

S'l'O My parents are out of town. It'll be like my hurricane bash last year. Nothing· extreme. Just a few of us, bangin'. Tatum warms to the idea.

'l'A'l'UM This could be good. What do you think, Sid? SIDNEY I don •t know ••• TATUM Come on. Pathos has it's perks.

Sidney considers trying hard to be good spirited.

STU Reinember, there's safety in numbers. SIDNEY (giving in) Yeah, okay ••• whatever.

STU Cool. See you guys tonight. Bring f~. Stu speeds off, sliding down the empty hallway. INT. PRINCIPAL'S OFFICE - I.ATER Mr. Himbry sits at his desk staring at the ghost masks before him. He picks one of them up, snickering. MR. BIMBRY Damn••• Be stands and moves to the closet next to bis office door. Be pulls it open to reveal a mirror hooked inside the door. Be tries the mask on, pulling it over his face, looking in the mirror when ••

A KNOCK AT 'l'BE DOOR stops him. Be rips the mask off his bead, turns to his office door and opens it to reveal •••

~·. AN EMPTYDOORWAY. He pokes his head into the outer off ice area and looks around. But no one's there.

(CONTINUED) CONTINUED:

MR. HIMBRY Yes? Hello? The place is empty. A little auspicious he closes the door, catching his reflection in the closet mirror. He looks at the mask in his hands. Jesus, even he's jumpy. Two seconds later ••• ANO'l'HERKNOCK AT THE DOOR. Bimbry grabs the door quickly, this time throwing it open. Again no one• s ther_e. He steps out into the outer office determined to catch a prankster. INT. OUTEROFFICE - CONTINUOUS

Completely empty. Mr. Himbry moves through the outer off ice and into the school corridor. The overhead lights have been turned off and the corridor is now dark and deserted. He looks up and down the hall. Only a JANITOR is seen in the distance pushing a broom. MR. HIMBRY Little shits. Mr. Himbry retums to his office. INT. OFFICE - CONTINUOUS Himbry reenters his office, moving to his desk, when he spots the closet door NOWCLOSED SHUT. This gives him pause--he had left it open. Hadn • t he? Suddenly, he can• t remember. Be shifts, uneasy, reaching for the door knob, pulling the door open to reveal ••• AN EMPTY CLOSET. Be stands still a moment, suddenly realizing someone could easily now be standing behind the open closet door. Nervously, he pushes it shut to reveal ••• NOTHING. Bimbry shakes away his jitters, realizing he's spooked himself. He continues to his desk, pushing his office door ahut when ••• A GHOST MASKEDFIGURE lunges from behind it ••• knife in hand. Quick and easy. Three quick jabs to the st01118.ch and Bimbry goes down. The GHOSTMA.SUD FIGURE towering above him. Erl'. TATUM'SBOUSE - AF'l'ERNOON- LATER The late afternoon sun is quickly disappearing. Tatum and Sidney rock on the front porch looking out onto the ····_:•.. -.•.. small town neighborhood. Dewey's patrol jeep is parked in : ,-· the driveway.

(CONTINUED) 68. CONTINUED1

~--,. C .. Despite loud music, BLARINGfrom an inside stereo, this is a quiet moment. TATUM Maybe Cotton Weary is telling the truth. Maybe he!!!!. having an affair with your mom. SIDNEY So you think my momwas a slut too? TATUM I didn • t say that, Sid. But you know there ware rum.ore. Your dad was always out of town on business. Maybe your mom was a very unhappy woman. SIDNEY If they were having an affair how come Cotton couldn't prove it in court? TATUM You can• t prove a rumor. That's why it's a rumor. SIDNEY ~-:·' Created by that little tabloid twit Gale r . Weathers.

TATUM (delicately) It goes further back, Sid. There" s been talk about other men. SIDNEY And you believe it.? TATUM Well ••• you can only hear that Richard Gere-gerbil story so many times before you have to start believing it. A long silence as Sidney agonizes over all of this. She stands up and moves to the edge of the porch and stares out onto the neighborhood. SIDNEY If I was wrong Cotton, then he"s still out there.

( ·.. \"'·:· .

(CONTINUED) CONTINUEDi ( 2 )

TATUM Don't go there, Sid. You• re starting to sound like some Wes Carpenter flick. Don't freak yourself out--we•ve got a long night ahead of us. SIDNEY You' re right. I •m cracking up. Ignore me. TATUM Came on, let's rock. Sid follows Tatum inside the house never seeing the GBOST MASKEDFIGURE that stands across the street, under a tree. Bis presence so subtle and unobstrusive you'd have to see this movie a second time to know he was there all along.

EXT. MAIN STREET - LATER Stu is moving along main street when Billy comes barreling up next to him. BILLY Bow'd you do? STU Piece of cake. She' 11 be there. BILLY Thanks, butt wart. You did good.

STU So you gonna try and make up with Sid? BILLY Duh •• that' s quick.

STU I was just asking. Why are you always at me? BILLY Because I •m trying to build rour self­ esteem. You' re far too sens tive.

STtJ Oh•••• Billy thumps Stu's forehead.

;::·---. .., r"'

(CONTINUED) .. ·:,,.

70. CONTINUED:

BILLY You ready to party hard tonight?

STU You know it. They come to a building centrally located in the heart of Main Street. A huge, blue monstrosity that's bigger than the local bank and post off ice combined. 'l'he sign in front reads BLOCKBUSTER. INT. BLOCKBUSTER- CONTINUOUS Your typical Bloc:kbuster--huge and crowded. Randy, in his Blockbuster get up, is busy reshelving returns when Stu appears--knocking the videos out of his hand.

STU Jesus, this place is packed. RANDY (picking up videos) We had a run in the mass murder section.

STU You coming tonight?

RANDY Yeah, I'm off early--curfew you know. (looking off) Now that• s in poor taste.

S'l'O What? Randy refers to Billy who's stands down the aisle talking to 11'WOGIRLS. ( 'l'he twits from the bathroom perhaps. )

RANDY If you were the only suspect in a senseless bloodbath would you be standing in the horror section?

STU It was all a misunderstanding. Be didn • t do anything.

RANDY You• re such the little lap dog. Be' a got killer printed all over his forehead.

(CONTINUED) 71. CONTINUED:

STU Then why'd the police let him go? RANDY Because, obviously, they don't watch enough movies . This is standard horror movie stuff. PROMNIGHT revisited. Randy moves down the aisle, reshelving videos.

STU . Why would he want to kill his own girlfriend? RANDY There's always some stupid bullshit reason to kill your girlfriend. That's the beauty of it all. Simplicity. Besides, if it's too complicated you lose your target audience.

STU So what's his reason? RANDY Maybe Sidney wouldn't have sex with him.

STO She's saving herself for you.

RANDY Could be. Now that Billy's tried to mutilate here, you think Sid would go out with me?

STU I think her father did it. Bow come they can't find his ass?

RANDY Because he• a probably dead. Bis body will come popping out in the last reel somewhere ••• eyes gauged. see, the police are always off track with this shit, if they'd watch PROMNIGHT they'd save time. -there's a formula to it. A very simple one. Everyone's always a suspect-the father, the principal, the town derelict... ·

(CONTINUED) 72.

CONTINUED i ( 2 )

c··:_ STU Which is you ••• RANDY So while they're off investigating a dead

. •'I end, Billy, who's been written off as a .. , suspect, is busy planning his next hunting expedition. '.t BILLY t ~o.c.) ·.. I How do we know you're not the killer? ) Randy spins around to find Billy right behind him. Busted. -.::,:;:, RANDY :•:··:\}i~ Uh••• hi, Billy • BILLY Maybe your movie-freaked mind lost it's reality button? .·ti Randy shrugs, laughing it off. [s⇒Jg~: RANDY You•re absolutely right. I'm the first . .·.. )? {}_\:-:..- . ,·-·:::=/·.:_'.'::"· to admit it. If this were a scary movie, . ,.;·,·:.·.;:-... ·. I'd be the prime suspect •

STU And what would be your motive? RANDY It's 1995--motives are incidental. EXT. MAINSTREET - LITTLE LATER Dewey's patrol jeep makes it's way down mainstreet. It's almost dark. The street is close to deserted.

INT. PATROLJEEP - CONTINUOUS Dewey• s behind the wheel having a heated conversation with Tatum while Sid stares out the window. DEWEY A party? Mom•s gonna kill you. Then me. TATUM Don't be so self-righteous. It's just a little blow out--we' 11 be perfectly safe.

tt"'nl.1'T'TW ··. :.. . . ,, ...... ,.' ··. ::· .·.·.::·.. ·.·.;.

73. CONTINUED:

Sid stares out the window. CLOSEDSIGNS fill the storefronts, a few people rush to their car,.in a hurry to beat curfew. SIDNEY God, look at this place, it's THE TOWN THATDREADED SUNDOWN. DEWEY Bey, I saw that movie. True story, 'bout some killer in Texas.

TATUM Bey, Sid. Just think if they make a movie about you. Who•s gonna play you? SIDNEY Oh, god ••• . l ·I Dewey comes to a stop, parking the car in front of the police --~ station. He looks to Sid with a brotherly smile. DEWEY I see you as a young Meg Ryan myself. SIDNEY Thanks, Dewey. But with my luck they'd cast 'l'ori Spelling. EXT. PATROL JEEP - CONTINUOUS They pile out of the jeep. Dewey heads for the station. DEWEY I • 11 just be a few minutes • Don• t go far.

..:·.: . ....·.::". The girls take off for the local supermarket that sits across ~>.:-.:. ·.: the street.

-~·:.·., SIDNEY Ia Billy going to be there tonight?

· ·.·:·.•··· ·<-:::::..:.;. TATUM ·· :.·. ·. . Be better not be. I told Stu to keep his mouth shut. I think we can live without

..... , EVERYBODY'SALL AMERICANfor one night • They approach the grocery store. Small and simple. Sid and Tatum grab a shopping cart from the bin and enter the store, pushing the cart through two sliding glass doors. (_ 74. CONTINUED:

A lone CHECKOUT LADY behind the counter, big and frumpy, r- looks up from counting money. CHECKOUT LADY You girls gonna have to hurry it up. We' re under curfew. TATUM 'l'wo minutes tops. They make a bee-line for the junk food section just as the automated doors slide shut behind them and a ••• GHOST MASKED FIGURE appears, out of nowhere, standing just outside, watching, quietly through the glass store windows.

EXT. POLICE STATION- SHERIFF'S OFFICE Sheriff Burke's face heats up as Deputy Riley marches in, hurriedly •. SHERIFF BORU: Dewey! Where the hell you been, boy? DEWEY Keeping my eye on Sidney. ~.: SHERIFF BURKE Listen up, Dewey, because it• s bad. Real bad. Aircomp just faxed us. The calls were listed to Neil Prescott--Sidney's father. He made the calls with his cellular phone. It's conf il=med.

DEWEY Couldn't his cellular number have been cloned?

SHERIFF BURKE There's more. ·Guess what tomorrow is? The anniversary of his wife's death. It all fits. Be's our man. DEWEY Have you contacted the bureau?

SHERIFF BURKE They believe he's out of state by now. We'll keep roadblocks and curfew in effect through the night. If he's not picked up by morning--we'll do a house to house.

(CONTINUED) 75. CONTINUED:

DEWEY You think he could still be in town? SHERIFF BURXE He"d have to be crazy. Where"s Sidney? DEWEY She ' s with my sister. Should I bring her in? SHERIFF BURJCE Bold off for now. Just stay close to her. DEWEY She'll be with her friends over at Stu Maker's tonight. SHERIFF BURKE Watch her. Don't let on--just keep your eye out. DEWEY Yes, sir.

INT. SUPERMMKET - FEW MINU"l'ES LATER Sidney and Tatum push a basket through the junk food section. The store is completely empty. The girls gab freely. SIDNEY Billy• e right. Whenever he touches me, I just can"t relax.

TATUM You have a few intimacy issues as a result of your mother"s untimely death. It• a no big deal. You' 11 thaw out.

SIDNEY But he's been so patient with me, Tatum. You know, with all the sex stuff. Bow many guys would put up with a girlfriend whose sexually anorexic? 'l'ATUM Billy and his penis don't deserve you. Sidney grabs same chips and salsa from the shelf. Down the aisle, through the storefront window the GBOS'l'MASRED FIGURE ,-.._ still stands watching their every move. l. .

(CONTINUED) 7.6. CONTINUED:

EXT. SUPERMARKET Sid pushes the cart out the glass door with Tatum riding it. The GHOST MASKED FIGURE is nowhere to be found. SIDNEY What do you think about when you"re having sex? TATUM With Stu, there's little time to stop and reflect. But sometimes before, to relax and get in the mood, I think about Grant Goodeve. Sid pushes the cart and Tatum across the street. SIDNEY Who? TATUM Grant Goodeve--the oldest brother on EIGHT IS ENOUGH. Remember that show? Be was the one who lived off alone. Be would come around every now and then with his guitar and sing •Eight is enough to fill our lives with love ••• " Be had all these brain dead sisters and that idiot brother from CHARLESIN CHARGE.God, I was in love with Grant, he was so hot. The show came on every day afterschool right during _mypuberty years. Grant Goodeve was very instrumental in my maturing as a woman. SIDNEY How does that get you in the mood with Stu? TATUM During foreplay, I sing the theme song to myself, •Eight is enough to fill our lives with love ••• • It's a real turn on •. SIDNEY No way. TATUM Grant wrote the song himself. I'm /''·,. convinced the lyrics had a secret ~-· meaning, "Eight is enough ••• • (

(CONTINUED) CONTIN't.JEO:

Sid pushes the cart up to Dewey's jeep. Tatum hops off. SIDNEY What secret meaning? Like a Satanical thing?

TATUM Watch the show, Sid. His basket. is bigger than the one you're pushing. SIDNEY TATUM!

TATUM Oh Sidney. WHAT? A guy can talk ti ts til he's dead but the minute you mention an eight inch weenie. Watch out. Sidney stops just short of a laugh. Tatum pulls the back jeep door, loading the groceries in. Behind her, the GHOST MASKEDFIGURE appears, just out of their sight, behind the jeep's open back door. TATUM There's that sense of humor. I knew it still existed. Ohh, Sid, let's have some fun tonight. SIDNEY Deal. Sidney moves to the back door and closes it shut, when from behind ••• DEWEYstands. Sid jumps, startled. DEWEY You girls ready. SIDNEY Yeah. DEWEY Looks like I'm your personal bodyguard tonight, Sid. TATUM No, Dewey. You• 11 ruin the whole night. DEWEY Sorry, police orders. I'll stay out of the way, I promise.

(CONTINUED) 78. CONTINUED: ( 2 )

TATUM Shit. Tatum kicks the shopping cart out of the way, blindly. It rolls down the road by itself, gaining speed on a decline running smack into the GHOSTMASKED FIGURE who stops the cart cold with one hand. ·

EXT. COUNTRY ROAD - NIG!rl' Dewey's jeep makes ·it•s way .down a long, winding road. Headlights illuminate the thick woods that line each side. Following behind them at a discreet distance is a huge white newsvan. Dewey comes to the end of the road. It dead ends at ••• STU'S HOUSEwhich sits alone in a clearing, big and ominous with no neighbors in sight. A huge old home just ripe for a night of fun and ••• terror. From the looks of things the party has already started. Music is BLARING. A few KIDS hang on the porch. INT. LIVING ROOM- MINUTESLATER @_<:. A big room with KIDS sprinkled throughout--smoking, drinking, cutting up. A stereo BLASTSmusic while the TV airs around the clock killer coverage. Tatum and Sid enter with groceries. Various FRIENDSgreet them. TATUM Caterer's here. The girls carry bags through a hallway that opens up onto an enormous kitchen. Stu and some GUYSare leaning over the sink drinking beer from a funnel.

TATUM That's mature.

STU Where you guys been? We had to start

. ·· . without you • .: ·:·-. .. EXT. S'l'U*S BOUSE- ROAD The newsvan pulls up and parks unobtrusively on the side of r--,,,...•-·.• the road a few feet down from the front yard • ,_:__, 79.

INT. NEWSVAN Kenny and Gale move around inside the van. Kenny hovers over a control panel complete with video monitors.

KENNY What's the plan?

GALE Prep the compact, we'll hide it in a window and tape all of tonight• a festivities. Kenny picks up a compact video camera the size of his fist. He checks its battery pack.

ltENNY The control board's glitched. You know we can't carry a live picture.

GALE What's the delay?

KENNY About thirty seconds.

GALE As long as it records I don't give a shit. We're not doing a remote. Gale slides open the side door and steps out into the darkness, not seeing the FIGURE that stands behind her. A hand grabs her shoulder, Gale's heart stops as she spins around to find ••• Dewey, smiling, extremely pleased to see her.

DEWEY Evening, ma' am.

GALE Deputy ••• good evening. DEWEY What brings you out to these parts?

GALE You never know when or where a story will break • r.t...·· ..

(CONTINUED) .·.. ·. :.·· .·.··.. _ .. . : ' .. .•··. .. . : :.·,;·-···_. · ·. ·.,. ·.·-.. . . ·......

~ 80. CONTINUED:

( :· DEWEY Not much story here. Just a bunch of kids cutting loose.

GALE Then what are you doing here?

DEWEY Keeping an eye on things. Checking the place out.

GALE -.l Mind if I join you? Dewey considers for a whole two seconds. ··I DEWEY Not at all. Gale leans in the van, grabs the camera from Kenny's hand, and throws it in her bag. She gives Kenny a wink. INT. KITCHEN

CLOSEON a microwave. Popcorn POPS inside. CAMERAWIDENS TO REVEAI, ••• ("·_"·.. ·.. ·. Sid, Stu, and Tatum moving about the kitchen, preparing a ...... - junk food feast. Other TEENS pop in and out. Randy appears .. - ·.. :·· ·. amongst them. He carries an armful of videos. RANDY I thought we'd make it a BLOCKBUSTER night. ·.. ··_-_.. ·.. :._--.:::. ·.: Be lets the videos splatter across the kitchen counter. Stu and Tatum dive in.

STU I thought everything was checked out •

. ·:· ,: ·.·.•.-···.·.__. RANDY I had 'em hid in the foreign section. Sidney peruses the videos.

SIDNEY THE FOG, TERROR TRAIN, PROM NIGHT-How come Jamie Lee Curtis is in all these movies? 81. CONTINUED:

RANDY She's the Scream Queen.

STU With that set.of lungs--she should be. TATUM (to Sid) Tits--see. INT. LIVING ROOM- FEW MINUTES LATER The party is going strong. Ten maybe fifteen people stand, sit, lean. Some crowd around the floor in front of the television. Randy is taking a vote. RANDY Bow many EVIL DEAD'S? (hands go up) How many HELLRAISER'S? Bands go up. BICKERING AD-LIB, etc. The doorbell RINGS. Stu goes for it.

STU I got it. Tatum get me a beer. They're in the fridge in the garage. TATUM What am I? The beer wench?

STU (o.c.) Hey, guess who's here? It"s that chick from INSIDE STORY? They look up the hallway to see Dewey and Gale standing in the foyer .. TATUM Shit, Dewey 1 EVeryone perks up, eyeing Gale.

TATOM What is she doing here?

DEWEY She• s with me. I just wanted to check on things.

(CONTINUED) CONTINUED:

,I The GUYSin the room are drooling over Gale. Including Stu. ( TATUM So you clid--now leave ••• and take your media muff with you. Tatum takes off for the kitchen. Gale has quickly become the focus of the party. All eyes are on her. SOMETEEN I watch your show religiously.

STU This must be big news to be on INSIDE S'l'ORY.

GALE Huge.

ANOTHER TEEN Wanna interview us? RANDY We could be like two grief stricken students and we'll say really nice things about our good friends who were slaughtered senselessly.

STU I can cry on cue. Gale eyes the bookshelf above the television.

GALE .Maybe later? Suddenly, Gale st.arts to COUGH.

GALE can I trouble you for some water?

STU Bow • bout a beer? Randy--get the lady a beer. RANDY You.get it. Gale slips the camera from her bag--hita the ON switch and

I holds it behind her ••• waiting for the right moment. \ .· ( 83.

BACKIN FOYER SIDNEY Have they found my father? DEWEY Afraid not. SIDNEY Should I be worried? DEWEY Not yet. INT. KITCHEN Tatum is alone in the kitchen. She empties popcorn into a bowl, then pulls open the refrigerator ••• looks quickly, then remembers ••• She moves through the adjoining laundry room to the ••• INT. GARAGE The kitchen door opens and light floods the darkened garage. Tatum stands in the doorway searching for a light switch. She finds a button and hits it. BRRRRMMMI The electric garage door starts to rise. Wrong switch. She hits it again and it closes. She finds another switch. CLICK. A small lightbulb overhead comes on, barely lighting the large two-car garage, leaving pockets of shadows along the wall. · Tatum spots the refrigerator against a far wall and heads for it, not seeing t.he kitchen door, quietly, slowly, closing behind her, sealing her off from the rest oft.he house.

Tatum stumbles to the refrigerator and throws it open. It• s light casts a glow across her face. CRASB-BOOMI Tatum jumps, spinning around just in time to see a cat escape through a large pet door that's built into the garage door. She smiles at her jumpiness. Tatum loads up with as many beer as her hands will carry and heads back to the kitchen. At the kitchen door, she juggles the beer, reaching for the knob. It"s locked.

(CONTINUED) .....- ·.. • -•, • .

84. CONTINUED:

TATUM SHIT! She KICKS it with her foot several times. TATUM Hey, Shi theads l A moment. No answer. TATUM OH, SHIT PISSI Tatum leans over and, with her elbow, hits the garage door ·J button. BRRRRMM1 It. begins to rise.

: ) I She moves towards the rising door, beer in hand. Suddenly, CRR-BRRRMl The garage door RESETS, reversing direction, moving down, closing.

TATUM What the ••• Tatum spins around to see •••

('· · .. A GHOSTMASKEI> FIGURE silhouetted in the dark, next to the kitchen door, his hand on the switch. Tatum at. once, GASPS, taken back, but then relaxes.

TATUM Ia that you, Randy? Cute. The FIGURE stares at her, blankly.

TATUM

·-·· -·..- ... And what movie is this fran? I SPIT ON YOUR GARAGE. Tatum takes a step towards the FIGURE. TATUM Lose the mask. If Sidney sees it, she"ll flip .. The FIGURE shakes his head slowly t~ aide to side.

.. •, TATUM Oh you wanna play psycho killer? The FIGUREslowly nods. es. CONTINOED: (2)

TATUM Can I be the helpless victim? The FIGURE slowly nods again. TATUM Okay, let's see. •No, please, don't kill me, Mr. Ghost.face. I want to be in the sequel." Tatum takes a step to move around the FIGURE, but he steps too, blocking her. · TATUM cut, Casper. That's a wrap. Tatum moves again, sidestepping the FIGURE, but he's faster and cuts her off. Tatum juggles the beer against her chest with one hand and with the other pushes the FIGURE hard, knocking him aside. TATUM Randy--will you stop? But the FIGURE.intercepts, lunging forward, grabbing her wrist hard ••• Tatum stumbles ••• beer cans hit the floor ••• spewing •••

TATUM You little shit. Tatum yanks hard, releasing his hold when a flash of silver catches her eye. She looks down, glimpsing a long, sharp blade as it darts forward, cutting into her forearm ••• Tatum pulls back, horrified, as the moment turns deadly serious. The FIGURE advances on her--knife out, ready. She staggers backwards, holding her bloody arm, backing into the refrigerator, SCREAMING. TATUM Who are you? The FIGURE lashes out with the knife. Tatum dodges it, leaping back against the fridge. The FIGURE advances. Instinctively, she rips the top freezer door open, BASHING the FIGURE in the face, sending him backwards, reeling. Tatum bolts to the ••• CLOSEDGARAGE DOOR. In a panic, she BEATS and PULLS on it, trying to make it lift. She eyes the FIGURE••• he'a recovering.

(CONTINUED) 86. CONTINUED: ( 3 )

She goes for the pet door, dropping to the floor, diving for it ••• she wedges her upper body through, her head, shoulders, torso just as the ••• FIGUREpounces, grabbing hold of her feet. Tatum goes crazy SCREAMINGand KICKINGtrying to get through. EXT. GARAGEDOOR

Tatum is half in/half out the pet door. She BEATSand JERKS wildly, unable to see the FIGUREon the other side •••

A true fighter, Tatum kic:ka hard, making direct contact with the FIGURE, knocking him away. She takes the moment to pull herself through further ••• but she stops ••• stuc:k. She pulls and tugs but can't move. She listens but hears nothing. Where did he go? An agonizing silence. And then ••• CRR-BRRRMlThe garage door is activated. It begins to rise upward, taking Tatum with it. She SCREAMSMADLY. TATUM NOOOOOO•••• .:- . . Tatum's arms and legs fly about violently as she tries to f free herself from the door, but it moves too fast, carrying her up ••• She looks above to see where the door rolls back into the garage rafters just as her neck hits the first beam, SNAPPING instantly. INT. FOYER- MINUTESLATER It•s getting late and SOMEKIDS leave through the front door, muttering, •parents and curfew" etc. The door hangs open wide. Sid moves to close it when ••• BILLY appears in a classic fake scare. SIDNEY Billy? Jesus, you scared me. Stu appears.

STU (with a wink) Dude. What are you doing here?

(CONTINUED) 87. CONTINUED:

r- •. ~-·· BILLY \ .·· I was hoping Sid and I could talk. SIDNEY If Tatum sees you--she • 11 draw blood.

STU You guys can go up to my parents room? To talk and ••• whatever. BILLY Subtlety, Stu. Look it up. SIDNEY It• s okay. We need to talk.

Sid grabs his hand and leads him up the staircase. Randy appears from the kitchen just in time to see Sid and Billy disappear upstairs.

RANDY What's Leatherface doing here?

STU Be came to make up.

RANDY There goes my chance with Sid.

STU Like you had one.

IN'l'. NEWSVAN Kenny fidgets at the control board. He hits a coupla buttons, bangs the side of the monitor and a picture emerges ••• the living room. The camera is positioned just above the television •••

ON SCREEN The party is in full swing. Several TEENS sit right in front of the television. Because of the camera's position they appear to be staring right into the lens. Suddenly, the van's side door slides open and Gale pope in.

ta:HNY Got a picture. Perfect placement. We can see everything. Gale is ecstatic.

(CONTINUED) ..·. · \;::-,=._:::>>.-;:-: ._;..·· . . ··••.-... . :· . -:··.. .

. , ... . .)/-.-. . . ·•.:::. -· ·.: . ~ ...... ·. -· .- ·:-: { . ,\. . ..- ..· · .. ·. , . . ::- .

88.

CONTINUED:

GALE Tell me, Kenny, has a cheesy tabloid journalist ever won the PUlitizer?

INT. BEDROOM A large, master bedroom with glass doors that lead out onto a balcony. Sid and Billy stare at eac:h other for a long moment. Awkward. SIDNEY. so .•• BILLY so ••• I'm sorry. I've been a selfish shit and I 'm sorry. SIDNEY No, Billy. I 'm the one who' s been selfish and self absorbed with all of my post traumatic: stress. BILLY You lost your mom••• .- ..- ·· SIDNEY But you're right--enough is enough. I c:an't wallow in the grief process forever and I can't keep lying to myself about who my momwas. Billy boWS his head quietly, ltnowing_ly. SIDNEY I think in some weird analytical, psychological bullshit way I'm ac:ared that I'm gonna turn out just like her, .. you know? Like the bad seed · or -· ...... · something ••• BILLY Oh Sidney ••• SIDNEY zverytime I get close to you I see my mom. I know it doesn't make sense • ...... BILLY sure it does. It• s like · Jodie Foster in SILENCEOF '1'HELAMBS when she kept having. flashbacks of her dead father.

(CO?-' 89. CONTINUEDz

SIDNEY But this is life. This isn't a movie. BILLY Sure it is, Sid. It•s all a movie. Life's one great big movie. only you can't pick your genre. Billy moves to her. They embrace, tenderly. SIDNEY I wanna let go. I do ••• BILLY Ssshh ••• everything• s gonna be okay. I promise. Sidney takes the iniative, acting on impulse, kissing him long and hard. She breaks away passionately, out of breath. SIDNEY Why can't I be a Meg Ryan movie? Billy nibbles her neck. BILLY Sshh •• it's okay. SIDNEY or even a good porno. BILLY (shocked) What? She stares at him, her eyes sexually charged. SIDNEY You heard me. BILLY (incredulous) Are you serious? SIDNEY (surprising herself) Yeah •• • I think so. They smile at each other. INT. LIVING ROOM - MINUTES LATER The camera sits on the book shelf lodged between two knick knacks, completely inconspicuous. The CAMERAWIDENS to the reveal several TEENSwatching the TV--the horror diehards. TEEN#1 Look, here it comes. SPLAT 1

TEEN #2 'l'he blood• s not the right color. Why do they do that? It's too red.

RANDY -Here comes another •••

TEEN #3 Predictable. Knew he was going to bite it.

BORED TEEN How can you watch this shit over and over? RANDY (. Shhhhh.

STU ~ I wanna see Jaime Lee' s breasts. When do we see Jaime Lee's breasts?

RANDY Not until TRADINGPLACES in • 8 3. Jaime Lee was always the virgin in horror movies. She didn • t show her ti ts til she went legit. BOYTEEN No way. RANDY '!'hat• a why she always lived. only virgins can outsmart the killer in the big chase scene in the end. Don't you know the rules?

Stu finishes his beer.

STU What rul.es? Randy hits the pause button on the remote and stands in front of the television, explaining.

(CONTINUED) 91. CONTINUED,

RANDY There are certain rules that one must abide by in order to successfully survive a horror movie. For instance: 1. You can never have sex. The minute you get a little nookie--you•re as good as gone. Sex always equals death. 2. Never drink or do drugs. The sin factor. It's an extension of number one. And 3. Never, ever, ever, under any circumstances, say •I"ll be right back."

STU Wanna another beer?

RANDY Yeah.

STU I'll be right back. Everybody "ooohhs". RANDY There he goes folks--a dead man. Wave bye-bye. INT. NEWSVAN- CONTINUOUS Gale and Kenny watch the monitor. The party is clearing out some.

A RAP at the van door. Gale pulls it open to see Deputy Riley standing, his face all smiles. DEWEY Sheriff just radioed me. I'm gonna cheek out a possible lead. Thought you might like to join me. ·

GALE What kind of lead? DEWEY A car was spotted in the bushes a little ways up the road.

GALE I'd love to. If you"re sure it's alright?

(CONTINUED) -,-· ·.•:\·-:.::-.:-· ...... ·-.:-·._.:_::·:-:.:.:: ..

·•.... -· . .. ·• ·.· : · •, .. ·. ...:.-\?.-.-. ·:·· :-.~----:.~ -· ·; : :·:: •' ·. . . . . ·. .

. .·_ _:, :_=.·_:_,_:_:_:__~--, · _._;_:~~-- --·_.-.- . _.:.->,_:·._-,.:~- -'_ __-_.··_·. _·_-_· _·· .·._·.._·::_: ·._;: :_ ·:...... ·_·.-. '.:. : :. -~·. :--: . ·-·.. .. . ·:'":.: ·.·:..,-:.~:- ·_,;,·_..::.-·.· ·..; _. ·::: ... ·;~;•i:<.i>L···..• .••y:~;:,·,yx,E>·: ··:.·. ··.·.. .· . ' · •:;.,;.-;._ . 92.

CONTINUED:

DEWEY Ma'am, I am the Deputy of this town.

GALE Can I bring Kenny? DEWEY (too quickly) N01 I mean ••• I should probably take just you • . I I Gale steps out of the van turning back to Kenny • . -·-'.· . :·, _.--:;_ GALE I'll be back.

-~

. ·:.. . ·::; She slides the van doo~ closed • .. ~-··:_/ _J EXT. ROAD - CONTINUOUS Gale heads for oewey•a patrol jeep. DEWEY Actually, I thought we could walk. It's not -too far. Gale appears skeptical, but smiles anyway. She• s genuinely C smitten by this young guy. INT. LIVING ROOM- CONTINUOUS SCARY MUSIC fills the room. The party is reduced to the diehards in front of the television. RANDY ( pointing to TV) Look, here comes the obligatory tit shot.

O'l:BER GUYS Beautiful l Finally l

INT. BEDROOM- CONTINUOUS •.....: . . _.=:.·_-.-:· . . .·_ :_: ~ . ·_:.-. ··._· Billy and Sidney are going at it ••• passionately. Be has h head buried in her neck • .·: ·,:·_·._·. ·. . . SIDNEY :·.::_ (to herself) •Eight is enough to fill our lives with love ••• • - -.rorking. Sidney pushes Billy off her as she pulls ~ ...~ head. She fumbles with the clasp of he:r

(C 93. CONTINUED:

CAMERARUSHES IN on her breasts. Just as Sid· s bra straps slide off her shoulders ••• Billy moves in front of the CAMERA,pulling his jeans off, blocking Sidney from view. INT. LIVING ROOM- SECONDS.LATER Back in the living room, the horror fest continues when the phone RINGS. Everyone ignores it. It RINGS again. Finally, Randy grabs the receiver from the side table. RANDY Bello? Yeah •••• HOLYSHIT.

Randy, freaked, drops the phone, finds the TV remote and pauses the movie, the others protest "Hey, Put it back ••• " etc.

RANDY Listen up. They found Principal Bimbry dead. Be was gutted and hung from the goal post on the football field. This stills the room. Complete silence as the news sinks in. ON different faces ••• a moment of devastation •• disbelief. And then: TEEN #1 So what are we waiting for? TEEN #2 Let's get over there before they pry him down. And in seconds, the room is empty as everyone bolts for the door •• HOOTIN' and HOLLERIN'••• leaving Randy, near drunk, alone in the living room. Be returns to the movie.

RANDY We were just getting to the good part. INT. NEWSVAN- MINUTESLATER Kenny is barely watching the monitor, he reached boredom some time ago. He finds a bag of Cheetos and chows down when he bears SCREAMI·NGfrom outside. Be peers out the window to see the last of the PARTYKIDS pile into two cars and race off down the road •

.. , .: . Be chews a Cheeto slowly, his interest piqued. , ' 94.

INT. BEDROOM- MINUTESLATER The sex is over ••• and both Sid and Billy are dressing respectively. That post-sex awkwardness. Sid brushes out her hair as her eyes come to rest on the telephone on the nightstand ••• it puzzles her as a stark revelation crosses her face. She turns to Billy who's sits on the floor, putting on his shoes. SIDNEY Who did you call? BILLY What?

.·.·i SIDNEY . ' ..·) . . ,: When you're arrested--you"re allowed one phone call? Who did you call? --~ ·.:.· I BILLY I called my dad. SIDNEY No, Sheriff Burke called your dad. I saw him. BILLY Yeah ••• and when I called no one answered. SIDNEY Uh-huh. BILLY You don't still think it was me? SIDNEY No, but if it were you, that would have been ave~ clever way to tbrow me off track. Using your one phone call to call me so I wouldn't think it was you. Billy stands up. BILLY What do I have to do to prove to you I'm not a killer? Be makes a move toward her when •• from behind, in a split instant, from the open t,,alcony doors comes •••

'l'HE GHOSTFIGURE 95. CONTINUED:

r· Sidney sees the FIGURE immediately, SCREAMING. Billy tries r ·· to calm her, oblivious to the advancing GHOST. SIONEY BILLYWATCHOUTl111 Billy barely turns as a long steely blade rises high in the air. It strikes down with force ••• hitting his chest as blood sprays the air. ON SIDNEY as red crimson splatters across her faee ••• as the · knife is thrust in and out of Billy who tries hard to put up a fight •• but it's useless ••• he never had a chance. Bis body falls to the floor •• lifeless. ANGLEON GHOST as he watches Billy's body come to a still before quietly, calmly turning his attention to ••• SIDNEYwho stands, numb••• scared to death. And only when the GHOST takes a step forward does Sidney break. She takes off like a rocket ••• leaping over the bed and out the door. INT. HALLWAY- CONTINUOUS Sidney tears out the door and down the hall, c04-ted in Billy's blood.

ANGLE ON THE GHOST as he catches up with her, grabbing hold of her collar. She pulls away from him ••• her shirt ripping down the back . Ber hands find a door knob and she goes for it, pulling the door open ••• moving quickly inside ••• lock.ing it behind her. INT. DARKSPACE - CONTINUOUS Total darkness. Sidney ' s hands s_cour the wall for a light switch. The doorknob turns ••• the lock holds •• as the door is nearly SHAKENfrom it's hinges ••• and then ••• NO'l'BING. All goes silent. only Sidney's rapid BREATHING fills the space around her. Sidney, trembling, shaking, reaches above her, feeling •• until she finds a string. She pulls it ... as a lightl:>ulb SWITCHES on overhead. She's in a small box of a room. 'l'he door is on one aide, a (:·>. small, narrow staircase on the other. She eyes the doorknob, ~ -.,,.-:: then the staircaae ••• contemplating ••• but it's an easy

C•.

(CONTINUED) 96. CONTINUED:

decision. There• s no fucking way she's going up to the attic. She unlocks the door and pushes on it. But it won't give ••• she pushes on it again. It's locked from the other side. Shit. She turns to the staircase. EXT. DA.RXROAD - CONTINUOUS

A long, deserted country road. In the distance, a single flashlight beams ahead, the only light in the black night. Gale and Dewey can be heard.

GALE So is Dewey your real name?

DEWEY Dwight. Dewey was something I got stuck with a long time ago.

GALE I like it. It's ••• sexy.

DEWEY Nah ••• it's just this town's way of not taking me serious.

GALE What about Gale weathers? I sound like a meteorologist ••• CLOSEON Gale and Dewey, walking closely, side by side-­ flirtatiously. Gale is surprisingly nervous.

GALE People treat me like the Antichrist of television journalism. DEWEY I don't think you're so bad. Gale smiles.

GALE Are all the local boys as sweet as you? Dewey blushes. Be starts to say something when headlights appear behind them. They both spin around as TWOCARS loaded with 1t10s· come racing right at them. Dewey grabs Gale and pushes her off the road ••• juat as the cars speed by, oblivious to them.

(CONTINUED) 97. CONTINUED,

IN THE DITCH

Gale lands face up with Dewey right on top of her. Be steals a glance in her eyes before rolling off her. DEWEY You okay? Something takes Gales attention.

GALE What's that? Dewey looks to where Gale points. He finds the flashlight and aims it into the brush. The tail end of a car is just . I visible. DEWEY Looks like a car. .·.,:, Dewey helps her up and they move to it. Be shines the ·.)} flashlight on the plates but it's already obvious to the CAMERA. This is the same car we last saw Sidney• s father driving away in. DEWEY Shit. It's Neil Prescott's car.

GALE Sidney's father? DEWEY We gotta get back. Jesus. Be's here. What the fuck is he doing here? Dewey is panicked. Be grabs Gale and they race off down the road. INT. LIVING ROOM- CON'rINUOUS Randy continues to watch TV. Be is now sloppy drunk, completely involved in the movie on screen.

·:·:•:-·:._;.,;·. Ill·.:;-,.. •,. SCARYMUSIC SWELLS, filling the room.

·~<·. ..·/'.··· ·:..·•;··\.· · \\\:/'.?:~ RANDY ;.···:. .. ..: ·.·. . (to TV) (:\}.:/ No, Jaime. Look behind yout Watch outl ·?::.:. .• ····· .• .·. Behind you! :-. And if he followed his own advice, he would see the GBOST MASKEDFIGURE that stands directly behind him ••• knife poised 98.

\,...~,_:.,; INT. NEWSVAN- CONTINUOUS Xenny finishes off a soda and crushes the can in his hand. Be tosses it to the floor when a movement from the monitor catches his eye. ON TBE MONITORis Randy, still on the couch, engrossed in the movie. Directly behind him ••• the GHOST. Kenny does a double-take. No fucking way. He watches as the GHOSTstands still, unmoving, knife raised.

KENNY JESUS ••• FUCK ••• 'l'he GHOSTtakes a silent step fo%Ward.

KENNY (screaming at monitor) BEHIND YOUI LOOK BEHIND YOO! This kid needs help. Kenny bolts out of his seat and goes for the side door. He slides it open and sticks his head out as •••

A LONG, SHARPBLADE 1 :· r,;. comes at Kenny, fast and furious ••• slicing into hia throat. Kenny falls forward ••• out the door as the GHOSTMASKED FIGURE is upon him. TBE CAMERAPANS TO THE MONITOR just in time to see the GHOSTMASKED .FIGURE turn away from Randy, leaving him unharmed, moving instead, out the front door, on a thirty second walk to the newavan. INT. ATTIC - CONTINUOUS 'l'he attic is long and narrow ••• cluttered with furniture, boxes, and the likes ••• moonlight filters in through a small, raised window on the front wall of the house. Sidney moves through the attic ••• BOMPINGinto this, KNOCKING over that ••• she passes a dusty mirror, jumping at her own reflection. She cringes at her image, drenched in Billy• s blood. She stares long and hard ••• something about the blood, the redness of it. She moves on, determined. She eyes the raised windov above her ••• a way out ••• if she could only reach it ••• 99.

EXT. FRONTYARD Gale and Dewey come running up the drive, frantic. DEWEY I'll call for backup.

GALE I'll get my camera. They split up. The CAMERAFOLLOWS GALE as she rushes to the newsvan, throwing open the door.

GALE Kenny l Camera 1 Quick 1 The van is empty.

GALE Kenny?

A CAR HORN goes off. Gale spins around. It came from the patrol jeep in the driveway.

GALE ,•:·.. (calling out) f .:·· . ' Dewey? She moves across the yard to the jeep, the door hangs open ••• Dewey is nowhere to be found.

GALE Dewey? Where are you? A look of pure dread comes over Gale. INT. ATTIC - CONTINUOUS Sidney has stacked object after object building a ladder to the window. She climbs to the top, holding onto the window frame. She spots Gale almost illlmediately. She SCREAMSOUT, looking • for the window latch. But there's not one. It doesn't open. Sidney starts beating on it ... trying to break it ••• EXT. FRON'l' DOOR- CONTINUOUS Gale, hanging tough, approaches the front door, unable to bear Sidney' s SCREAMSthree floors up. Gale reaches for the door just as she hears LOUD, HORRIBLE SHRIEKS from just inside. She backs away. 100.

t'-. INT. LIVING ROOM-CONTINUOUS AN EAR-ct1RDLINGJAIME LEE CURTIS SCREAM BLASTS through the. empty living room as the horror movie on TV comes to it's horrifying climax. Randy is now gone.

EXT. FRONTYARD - CONTINUOUS Gale races across the yard putting distance between her and the house. She moves back to the van ••• INT. ATTIC - CONTINUOUS Sidney has found an old tennis racket. She swings a solid forehand at the window.

THE WINDOW SPRAYSGLASS Sidney moves quickly, lifting herself up over broken glass and pulling herself through the window frame. EXT. SIDE OF BOUSE Sidnef wastes notime. She looks for Gale, SCREAMING,but \~ ...: Gale is gone. Sid lowers herself down the ledge, sliding down a sloped portion of the roof onto •••

'l'BE MASTERBEDROOM'S BALCONY. Then she eases herself over the railing and lowers herself, letting herself hang as low as she can ••• then she lets go, free-falling the rest of the way ••• but in a split instant •••

fflE GHOST APPEARS grabbing her wrists in midair. Ber body hangs, dangling against the side of the house. The · GHOSTbegins to lift her, pulling her back onto the balcony. Sidney jerks, pulls, twiats ••• but the BANDShave her, hoisting her up ••• Sidney SCREAMSMADLY ••• yanking one last time, freeing herself. SHE DROPS'1'0 THE GROUND,a good seven feet, landing on her back, hitting hard. She grabs at a pained leg and brings herself upright. r~,ijJ' · 101.

INT. NEWSVAN- CONTINUOUS Gale is frantic. She starts the engine up and hits the headlights when she discovers she can't see out of the windshield. Gale rubs at the glass. Sure enough, something is on the windshield outside, blocking her sight. Gale hits the wipers as BLOOD SMEARS across the glass, it drips down from above. Gale SCREAMSas a HANDreaches in through the open window ••• she looks up to see ••• RANDY, staring at her madly. RANDY What•s going on? A sheer moment of fear as Gale hits the gas plummeting the car forward, into a ditch. She hits the BRAKES. Randy is thrown forward, away from the van. Gale reverses, backs up, hits the brakes again ••• just as Kenny's face comes sliding down the outside of the windshield ••• eyes wide, face distorted, blood everywhere. Gale hits the gas, and yanks the wheel, sending Kenny's corpse flying off the top of the van. Gale spins the van around, onto the road, hits the gas madly, gaining speed just as •••

SII>NEY APPEARS in the middle of the road, drenched in blood, very much resembling a young Sissy Spacek. Gale sw8%Ves to misa her, but she turns too sharp and the van veers off the road at top speed ••• flipping over on its side, sliding off into the thick foliage. EXT. ROAD- CONTINUOUS Sidney races to where the van lay on it's aide. Sidney peers through the windshield ••• Gale's body lay limp and bloody. SIDNEYCRIES OUT, turning, limping to the driveway. She sees the patr~l jeep with it's open door ••• she goes for it.

INT. JEEP Sidney hops in, reaches for the ignition ••• NO KEYSl Shit. f'~ ..· Just then, Sidney• s eyes go to the front porch. She watches

(CONTINUED) 102. CONTINUED:

as the front door opens and a FIGUREappears in the darkness, ~ -- undetectable. Sidney throws the headlights ••• illuminating the front side of the house, revealing •••

DEWEYSTANDING IN THE DOORWAY. SIDNEY DEWEY! Sidney opens the jeep door,· moving to him, notic i ng his body, slumped, knees buckled ••• And then his body falls forward, slowly, deliberately, hitting the porch hard. Standing behind him is ...

THE GHOST

SIDNEY SCREAMS FROM THE BOTTOMOF HER SOUL. SIDNEY NOOOOOOOOl 1111 Sid jumps back inside the jeep, closing the door, locking it. She reaches over and locks the passenger's door and then she ••• waits. And watches as the GHOSTleans over Dewey•s still body, fumbling with something. Then the FIGUREstands upright, in his hands he holds ••• THE KEYS They jingle in the wind, the GHOSTtoying with her, enjoying this ••• Sidney, hysterical, locks eyes with the FIGUREas he moves to the door, Sidney leaps on it, holding the lock button down, making it impossible to unlock. Her face is pressed against the glass ••• inches from the MASKEDFIGURE. She uses every ounce of strength when suddenly, the GHOST DISAPPEARS,dropping down, below the window, out of her view. Sidney moves to the center of the jeep ••• trying hard to listen over her own RAPID BREATHING,every sound AMPLIFIED. Then she hears it, the soft JINGLINGof keys near the passenger's side door. She pounces on the lock, holding it down.

(CONTINUED) 103. CONTINUED: ( 2 )

~·;-. A shadow cuts the beam of the headlights, unseen by Sidney. f' :: The lock turns on the other side. Sidney leaps over and holds it down, securing it. This is beyond nerve-racking. Sidney is certifiable. Ber eyes spot the police radio for the first time. She grabs the mouthpiece and hits the switch. SIDNEY Belpl Please! I'm at Stu Maker's house on Turner Lane. Please, HE• s GONNAKILL MEI EXT. FRON'!'OF '1EEP ANGLEthrough front windshield. Sidney RANTINGinto the police band. She doesn • t see the ••• GHOST FIGURE open the tailgate door of the jeep and slowly crawl in behind her. The GHOSTFIGUU reaches out and grabs hold of Sidney's neck. Sidney, with surprising strength, spins around and attacks the GHOST. She falls back against the dash, legs out, kicking wildly at him. Ber hand reaches for the door, finds the lock, the door lever, she pulls ••• The door swings open ••• Sidney falls out of the door, bitting the ground. EXT. FRONTYARD - CONTINUOUS Sidney, on. ber stomach, squirms away from the jeep. She brings herself up to her hands and knees, looking behind her to see nothing ••• '1'BE GHOSTHAS DISAPPEARED. Sidney• s e1es roam the yard but he• s nowhere. Completely gone. Vanished.. Sid crawls to the front porch where ••• DEWEY•SBODY LAY Thinking quickly, precisely, she reaches to Dewey•s holster and grabs his gun when a VOICE ECHO'S behind her ••• t"·/·

(CONTINUED) 104. CON'l'INUEDz

VOICE (o.c.) Sidney!

She turns to see Randy racing to her, limping. He appears stone cold sober.

RANDY Jesus, Sid. We gotta get out of here. Sidney throws the gun forward. SIDNEY Stop. Right there. RANDY Don't shoot. It's me. SIDNEY Don't come any closer. RANDY Listen to me, Sid. I found Tatum. She's dead, she's been killed ••• I think Stu did it. Be takes a step forward when another VOICE SPEAKSUP. VOICE (o.c.) Don't believe him, Sid. Sidney spins around to see Stu moving up the walk.

STU Be's lying. Be killed Tatum. And Billy. Stu moves closer to Sidney. SIDNEY Stay away. She aims the gun in his direction.

STU Bis movie nut mind has snapped, Sid. Be's gone psycho. RANDY Don't listen to him. It's him. Be's the one. t:\ ~'.,:. \ .

(CONTINUED) 105. CONTINUED: ( 2)

f'. Sidney has lost it, she doesn't know who to trust. She aims r--· the gun at Stu •• then Randy •• then Stu ••• STU Come on, Sid. Give me the gun. RANDY No, Sid. '!'hey both move toward her. There's no time. She must act now. Finally ••• SIDNEY Fuck you both. And with that, Sidney steps back into the house and SLAMSthe front door shut. INT. LIVING ROOM/FOYER Sid locks and bolts the door. From the other side she can hear Randy SCREAMING. RANDY NO, SID. OPEN UP. PLEASE ••• BE I s GONE CRAZY. Bis fists POUNDagainst the door. Sidney, stumbling in the , darkness, rushes to the phone in the living room. Just as she reaches for it ••• it RINGS. It scares the life out of her. She SCREAMS, yanking it up. SIDNEY Please I God 1 Help me l VOICE (from the phone) Having fun Sidney? Sidney falls apart, SCREAMING.

SIDNEY NOOOOOOOOI I I She throws the phone down, disconnecting the call. Sid moves back to the door. RANDYI s SCREAMSARE MADDENING. She eyes the lock, deliberating. SIDNEY (at the door) ,_.C GOAWAYLEAVEMEALONEI \

(CONTINUED) 106. CONTINUED:

CLUNK1 A NOISE UPSTAIRS. Sidney looks up the staircase, into the darkness, her faced SHOCKEDto see ••• BILLY

emerging from the shadows, stumbling down the stairs. Very much alive.

SIDNEY . Oh God. Billy! Be's blood-soaked and dazed. Sidney meets him at the landing, grabbing him, holding him ••• SIDNEY I thought you were ••• BILLY I'm alright. Gotta ••• get ••• help. Billy goes for the door.

SIDNEY Be's out there.

Randy continues POUNDING ON THE DOOR, SCREAMING AT THE TOP OF BIS LUNGS.

RANDY (through door) Please, you gotta let me in. Be's gonna kill me. Billy goes for the door. Sidney blocks him. SIDNEY NO1 Don't believe him. BILLY It• s okay. Give me the gun.

Sidney bands him the gun. Billy turns and unlocks the door, opening it. Randy rushes in, grabbing Billy, pleading •••

RANDY Help me ••• BILLY (eaJming him) Shhhh. It's okay.

(CONTINUED) 107. CONTINUED:( 2 )

RANDY Stu's flipped out. He's gone mad. Slowly, a small smile creeps across Billy's face. BILLY •we all go a little mad sometimes.• Randy squints, confused, as Billy aims the gun at Randy and pulls the trigger. The BLASTS throws Randy's body against the wall before sliding to a heap on the floor ••• still. BILLY Anthony Perkins--PSYCHO.

BILLY 'l'URNS TO SIDNEY••• Who stands only feet away, face aghast ••• Fuck, no ••• this can't be happening. Billy's eyes are on her, unmoving. . Be sticks his tongue out and slowly licks the blood dried to his face ••• tasting it. BILLY Corn syrup. Same stuff they used for pig's blood in CARRIE. Sidney is dumbfounded. Slowly, she takes a step back, moving into the dark refines of the kitchen. Billy, lurches forward in a fake-out, baiting her. She takes another step back--petrified. CLOSEON BILLY'S FACE. It is no longer familiar to Sidney. There is something inhuman now about his features. His expression is pure evil. She takes another step back, shrinking into the dark kitchen.

'1'HE CAMERATAKES A MOMENT'l'0 ADJUSTTO THE DARKNESSas the outline of a FIGURE appears ••• STANDING RIGHT BEHIND SIDNEY. She continues to back up, moving right into the arms of •••

STU Sidney spins around ••• her mouth open in speechless horror.

(CONTINUED) 108. CONTINUED:( 3 )

SIDNEY Stu ••• please ••• helpme ••• Stu stares back at her, eyes wide, lips curled in a subtle smile as he holds a small compact CELLULARPHONE up to his face.

STU (whispering into phone) Surprise, Sidney. His VOICE sounds affected ncw ••• the VOICE of the killer. Sidney looks back to Billy, then to Stu, then to Billy again. It's become all too clear. She stands between them, her mind racing, calculating ••• SHE BOLTSINTO THE LIVING ROOM If for no other reason than to put space between her and them ••• they stand in the entryway, trapping her in. BILLY Where ya going? It's not over yet. We've got one more surprise-~stu, I believe it's your turn. ~·· STU Oh yeah. Stu disappears into the kitchen. BILLY (to Sidney) What's wrong? You look like you've seen a ghost. Sidney st8:Dds, trying hard to hold a calm resolve. A NOISE comes from the kitchen. A low, DRAGGINGsound. Stu reappears from the front hall ••• wrestling with something ••• someone ••• CLOSEON STU••• he has a body in tow, he thrusts it forward and it rolls into the living room. Sidney looks down to find ••• BER FATHER bound and gagged. Bia eyes wide in fear, very much alive.

(CONTINUED) 109. CONTINUED: ( 4 )

SIDNEY ~ -- Daddy! She starts for him.

BILLY Close enough. Stu places the cellular phone in Mr. Prescott's shirt pocket.

STU Guess, I won't be needing this anymore. SIDNEY Why are you doing this?

STU It's all part of the game. BILLY It' 8 called GUESS BOWI'M GOING TO DIE 1

SIDNEY Fuck you. BILLY We already played that game. You lost, rememt>'!r?

STU You have to play, Sid. Don•t want to disappoint your dad. Be's been waiting around all night. BILLY It• s an easy game. We ask you a question. If you get it wrong--you die.

STU And if you get it right--you die. SIDNEY You• re crazy--both of you.

S'l'U The official term is •psychotic•.

SIDNEY You'll never get away with this.

(CONTINUED) 110. CONTINUED: ( 5 )

BILLY Tell that to Cotton Weary. You wouldn't believe how easy it was to frame him.

S'l'U Yeah, we just watched a few movies. Took a few notes. It was fun. Billy and Stu relish their madness, proud of themselves. Sidney looks to her dad, sees the tears in his eyes. She looks back to Billy, unflinching •• a determined look on her face. SIDNEY Why did you kill my mother? BILLY Wh:y? WHY? Did you hear that, Stu? I think she wants a motive. Hmmm••• I don't really believe in motives, Sid. I mean, did NoxmanBates have a motive? Stu plays along, shaking his head.

STU Nope.

BILLY And did they really ever explain why Hannibal Leeter liked to eat people? Don't think so. You see, it's scarier when there's no motive, Sid. SIDNEY (fighting tears) I don• t understand ••• BILLY We did your mom a favor, Sid. The woman was a slut bag whore who flashed her shit all over town like ahe·was Sharon Stone or something.

STU (laughing) •• so we put her out of her misery. I mean, let's face it, your momwas no Sharon Stone. Stu cracks up over this while Billy turns very serious.

(CONTINUED) 111. CONTINtJEDz (6)

BILLY Is that motive enough for you? Or how about this? Did you know your slut mother was sleeping with my dad and she's the reason my mom moved out and deserted me. A sudden silence. Sidney is rigid with shock, bis words resonant with truth. SIDNEY What? Even Stu is surprised with his seriousness. BILLY Think about it. On the off chance I get caught--a motive like that could divide a jury for years, don't you think? You took my mother, so I took yours. Big sympathy factor. Maternal abandonment causes serious deviant behavior. It certainly fucked you up. It made you have sex with a psychopath.

STU That's right and now that you're no longer a virgin. You gotta die--those are the rules. Billy sits the gun down on the table near the foyer. And then moves to Sidney with the butcher knife in hand. BILt.Y Pretend this is all just a scary movie, Sid. How do you think it's going to end? Sidney doesn't respond.

STU (excited) This is the best part, Sid. Billy's got it all figured out. Why do you think we kept your father alive so long? Why did we save you tor last? BtLLY You know what time it. is, Sid? It's · after midnight. It• s your mother• a anniversary. We killed her exactly one year ago today.

(CONTINUED) 112. CONTINUED: ( 7)

Billy turns to Stu with the knife. They eye each other. BILLY Ready?

STU Yeah ••• Billy pulls the knife back and brings it forward quickly, slicing into Stu. Be stumbles to his knees, WINCING in pain.

STU Jesus ••• Sidney SCREAMS••• as blood gushes •• real blood, a dark, deep red. Stu inspects the wound to his side ••• then he smiles •••

STU Good one. My turn. Be takes the knife from Billy. BILLY Don't forget--stay to the side and don't go too deep. Stu stabs at Billy's .belly, puncturing him ••• Billy doubles over ••• . BILLY Jesus ••• fuck, that hurt. SIDNEY Stop itl BILLY (squelching the pain) Got the ending figured out yet? Times running out.

STU Come on, Sid. Think about it. Your Father is the chief suspect. We cloned his cellular. The evidence is there.

Billy takes the knife and slashes at Stu's Hm, two quick cuta ••• he doubles over ••• BILLY What if your father snapped? Your mom' s anniversary set him off and be went on a murder spree, killing everyone •••

(CONTINUED) ., 113. CONTINUEDi ( 8 )

STU (in major pain) Except for me and Billy ••• we were left for dead ••• BILLY And then he kills you and then shoots himself in the head. It's a perfect ending.

STU Everyone dies but us. we get to carry on and plan the sequel. Let's face it, these daya--you gotta have a sequel. Stu takes the knife and cuts at Billy. SIDNEY You sick fucks--you've seen one too many movies. Billy looks at her, bent over, crued. BILLY Oh Sid, don't blame the movies ••• Movies don• t create psychos. Movies just make r~ --.-:. psychos more creative. Stu staggers a bit.

STU That's it, Billy. I can"t take any more. I'm feeling woozy.

BILLY Get the gun. I'll untie Pops. Billy moves to Sidney's father.

STU Where'd you put it? Stu is searching the foyer for the gun. BILLY It"s on the table.

STU No, it's not. Billy hobbles over. 'l'he gun is gone. ~ :-': r - '

(CONTINUED) 114. CONTINUED z ( 9 )

/ BILLY ~ .. Where the fuck is it? VOICE (off camera) Right here, asshole. Billy and Stu look up in unison to see ••• GALEWEATBERS--CORRESPONDENT FROM INSIDE STORY standing in the front door way, gun in hand. Her body, tattered and bloody. Ber hair a mess. BILLY I thought she was dead.

STU She looked dead. Still does. Gale holds the gun firm, in total control.

GALE I've got an ending for you. The reporter left for dead in the newsvan comes to, stumbles upon you two dipshits, finds the gun, fumbles your plan, and saves the day. Sidney steps forward. SIDNEY I like that ending. Billy lunges at Gale, but she holds steady. Billy and Stu eye each other. BILLY She can't get both of us.

STU Odds are--she'll miss anyway. In a mad rush, they storm ·Gale, heading straight at her. She pulls the trigger, but nothing happens ••• the safety is on. Billy charges forward, grabbing hold of the front door, SLAMMING IT SHUT. It catches Gale in the face, knocking her backwards out the door. She goes down••• out.

(: ~·:

(CONTINUED) CONTINUED: ( 1 O)

,· STU Cool move. Billy steps out the front door and retrieves the gun from where Gale lays. Then he turns back inside the house to find •••

SIDNEY GONE.

BILLY Where'd she go? Stu looks around, staggering now, bleeding heavily ••• Sidney has completely disappeared. only her father, bound and gagged remains in the living roam.

STO I don• t know Billy but I • m hurtin • • BILLY Where the fuck did she go? Suddenly, the phone RINGS. Billy and Stu look at each other. Completely surprised. Billy scrambles over to the phone.

BILLY I (picking up phone) r Bello? SIDNEY (from phone) Are you alone in the house? Billy looks to Mr. Prescott. The cellular phone is gone. BILLY You bitch--where the fuck are you?

SIDNEY Not so fast. We"re gonna play a little game. It' a called GUESS WHOJUST CALLED 'l'BE POLICEAND REPORTED YOUR SORRY MOTHERFUCKING ASS? Billy looks around the living room. BILLY Find her. Billy ia fuming now ••• slightly ataggering ••• and starting to lose it. Be SCREAMSat Stu who has fallen to his knees.

(CONTINtJEO) 116. CONTINUED:(11)

~''. BILLY \ . FIND HER YOU DIPSHIT!

STU I can't ••• I'm bad off, Billy. You cut too deep. Billy throws the phone at Stu. He mouths to him, so Sid can't hear. -Talk to her ••• - Then Billy takes off for the kitchen. Stu takes the phone. SIDNEY · (aware) so Stu, what's your motive? Billy's got one. The police are on their way. What are you going to tell them?

STU Peer pressure ••• I'm way too sensitive. Billy flies back in the room, grabbing the phone from Stu. Be's completely nuts now, staggering, bleeding, totally insane.

BILLY (SCREAMINGin phone) I'm gonna rip you up bitch. Just like your slut whore mother.

SIDNEY Gotta find me first, you pansy-assed Kama's boy. Billy starts ripping the room up, overturning furniture in a mad fit of rage ••• when he notices the hall closet. Touchel Be smiles deliriously, heading for it, ripping it open as ••• A GHOSTMASKED FIGURE strikes from within, with an umbrella, the sharp end hitting him in the chest as it fans out. Billy stumbles back, stunned, as the GHOSTcomes at him again ••• the umbrella lodges in his chest, and he goes down. Sidney rips the GHOSTMASR off her head. She looks at Billy, disgusted, throwing the mask on Billy' a now still body. A movement behind her sends her reeling around to find ••• RANDYslowly sitting up. Bia body drenched in blood. Be's alive ••• barely. Be looks to Sidney ••• through pain ... RANDY You know what I hate most about horror /'~:-·. movies? The final scene ••• it just goes ~ :: \ , ;•· on and on ••• and it gets so stupid •••

(CONTINUED) 117.

CONTINUED i ( 12 )

Randy manages to stand when a FIGURE COMES LEAPING at him, completely unexpected ••• it's Stu ••• barreling into him.e.they fall back into the living room. Sidney grabs the gun next to Billy and turns to the living room to find ••• Randy and Stu rolling across the floor in a dead lock, fighting, both seriously irijured ••• sid tries to find aim when a •••

BANDGRABS BOLD of Sidney's ankle, toppling her to the floor ••• once again she finds Billy on top of her ••• IN THE LIVING ROOM Randy and Stu pound at each other, beating and clawing ••• ON SIDNEYas she fights.viciously, attacking with everything she's got •••

Randy is desperately trying to pry away from Stu ••• he grabs hold of the television set and tries to pull himself off the floor out of Stu's clutch •••

Bis hands find the top of the 'l!Y ••• the VCR••• he yanks on it, gripping it with his hands, bringing it around with force-­ CRASHINGthe VCR into Stu• s head. Stu drops. ON SIDNEYas she digs her hand into Billy's open chest wound. He CRIES OUT BLOODY MURDER. Her other hand brings the gun up to his face ••• but he head bunts it out the front door ••• suddenly a flash of silver appears above Sidney. Billy has grasped the butcher knife ••• he rises it high above Sidney ready to strike ••• when a bullet RIPS THROUGHTHE FOYER striking Billy knocking him back into the living room. Sidney looks up to see ••• GALEWEA'?HERS, holding the gun in a death grip as smoke rises above the gun's chamber. Sidney sits up as Gale moves to her, helping her. Their eyes meet. A life truce. INT. LIVING ROOM- CONTINUOUS Billy and Stu lay face up, head to head. Sid and Gale move over them, staring down. Randy joins them.

RANDY Sid, you found me out ••• I'm a virgin. And pretty happy about it right now.

(CONTINUED) 118. CONTINUED: r~. :. Sidney nudges their bodies. They both stir. RANDY Careful. This is the moment when you think the killer"s dead, but then he springs back to ~ife for one last scare. Sidney grabs the gun from Gale. SIDNEY Not this time. She positions her foot on Stu's chest and aims. SIDNEY This is for my Mom, asshole. She SHOO'l'Shim in the forehead, a clean and perfect shot. Then she aims the barrel at Billy who"s eyes suddenly open, blinking up at her, blood bubbling f rem his lips. He's not yet dead. Their eyes lock. SIDNEY And this Billy stud-bucket is for having an incredibly small weenie. She FIRES another perfect shot. They' re both goners. Sidney drops the smoking gun, standing silent over the bodies. A quiet moment when suddenly ••• A FIGURE LUNGESAT THEM Both Sid and Gale and Randy SCREAMin· epic, final scare proportions as Mr. Prescott leaps forward, still bound and gagged. Sid catches her breath, relaxing. SIDNEY Oh Daddy ••• She rushes to him, untying him ••• while Gale moves to the bookcase and retrieves the hidden camera.

GALE I wanna close-up. Randy appears by Sidney's side, helping her untie her father.

(CONTINUED) ll~. CONTINUED: ( 2 )

RANDY I know this is probably an inappropriate moment, but you think you'd want to maybe go out with me aometime ••• like on a date? Sidney looks at him, dumbfounded. _,.. RANDY Maybe catch a movie? A long moment as Sidney's face goes fram disbelief to resignation to the slight tra _ce of a smile. SIDNEY Only if it's a nice Meg Ryan movie. RANDY You got it. Be smiles at her ••• watching as Sidney grabs hold of her father, holding him tight as Gale Weathers, with camera in hand, gets one hell of an ending to this SCARYMOVIE.

_.,•:.· . ~- ---